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2814 are one of the most innovative musical acts in recent memory. Blending breathtaking ambient soundscapes and futuristic downtempo experiments with a gorgeous sense of electronic melancholy and urban atmosphere, the ever-elusive duo’s sound is defined by their brilliant adoration for warped, hypnagogic nostalgia and the simultaneous outlook into a futuristic dystopian setting – a winning combination of loss and optimism translated through a heavily altered new age lens. Rain Temple, their third full-length album, represents a new chapter in 2814′s sound: sprawling synth drones, beautifully distant vocals, swirling percussion, and an ethereal sonic aura tie together a simply masterful record. HKE and t e l e p a t h have once again created a stunning artistic statement that exceeds expectation and goes far beyond most modern ambient music, reminding us that beyond our late night somber and eternal wonder, we all remain.
2Pacalypse Now is the debut studio album by 2Pac. The album is 2Pac's commentary on contemporary social issues facing American society such as racism, police brutality, poverty, black on black crime, and teenage pregnancy. It featured three singles; "Brenda's Got a Baby", "Trapped", and "If My Homie Calls". In celebration of the 25th anniversary of this classic UMe will be commercially releasing the album on vinyl (gatefold, 180 gram) for this first time here in the US.
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Tupac Shakur is still the best-selling hip hop artist and a modern tragic hero. Here's the definitive (and unofficial) instrumental collection of the man who was able to bring Hip Hop to mainstream with anthems such as Temptations, So Many Tears, California Love, etc.
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Get Rich Or Die Tryin' is the debut studio album from rapper/entrepreneur 50 Cent on Aftermath Entertainment/Shady Records. Driven by the smash #1 hits "In Da Club" and "21 Questions" along with additional singles "PIMP" and "If I Can't," Get Rich Or Die Tryin' debuted at #1 on the Billboard charts selling 872,000 copies in its first week and in excess of 10 million copies to date, making it one of the best-selling hip-hop albums of all time. The album features production from mentors Dr. Dre and Eminem and guest appearances by the latter along with Nate Dogg, Young Buck, Lloyd Banks and Tony Yayo. Get Rich Or Die Tryin' was also nominated for a Grammy award for Best Rap Album. "Ten years ago...the hip-hop landscape shifted. 50 Cent, a young upstart from Queens, New York, put the rap game in a chokehold with the release of his debut studio album "Get Rich or Die Tryin'." The album was an audio snapshot of a hustler balancing machismo with romance and vengeance with ego. On "Get Rich or Die Tryin'," 50 pocked gritty street tales with stitched hooks that thawed the iciest of haters, mainstreaming a style popularized by his foe Ja Rule and appropriated to boost his own ascent. "...Upon release, "Get Rich or Die Tryin'" laid a new blueprint for hip-hop releases. Whereas few artists ventured outside of the major label system to build buzz, the rapper overcame getting dropped by Columbia Records and recovering from nine gunshot wounds to architect a career in the streets. The rapper took a mixtape model - DJs curating compilations that were bootlegged on corners - and bent it to his advantage, using instrumentals from popular songs to create classic releases like "50 Cent is the Future" and "No Mercy, No Fear" with his G-Unit crew. The mixtape-as-marketing-tool earned him a record deal with two artists with heavy co-signs: Eminem and Dr. Dre." - Steven J. Horowitz, Billboard
Stones Throw is pleased to announce the release of 7 Days of Funk - Dam-Funk and Snoopzilla aka the legendary Snoop Dogg. “We’re the babies of the Mothership,” says Snoop. “I’ve had funk influences in my music my whole career. Dam-Funk is cold. He’s keeping the funk alive and I knew I had to get down with him.”The King of Modern Funk meets the smoked-out scion of G-Funk on the 7 Days of Funk album, where Snoop performs under the name Snoopzilla, the homage to the legendary funk master, Bootsy Collins, who often went by the moniker Bootzilla. After an initial chance meeting two years ago, Dam and Snoop began to collaborate when Snoop invited Dam to perform with him at a 2011 SXSW show — the musical connection was inherent.“Snoop knew what I was thinking without me having to articulate it. That’s how you know when you gel artistically with someone,” Dam-Funk says. “These beats were made for him and he laid down some of the smoothest harmonies and melodies I’ve ever heard. It’s hip-hop, but you can also hear what we grew up on, from Zapp to Evelyn ‘Champagne’ King and Patrice Rushen.”As an entertainment icon, there is little Snoop hasn’t accomplished. The Long Beach legend has sold over 30,000,000 albums, and received 15 Grammy® nominations, but at heart, the funk has inspired many tracks through his career.Growing up at the other end of L.A. was Pasadena’s Dam-Funk. Since his 2009 debut, Toeachizown, the Stones Throw-signed visionary has defined modern funk music—this isn’t a fad for him, it’s a way of life. He’s the new vanguard of a tradition encompassing George Clinton, Roger Troutman, Prince and Snoop Dogg himself, who helped pioneer G-Funk with Dr. Dre.
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First pressing of 750 numbered copies on transparent blue vinyl. Includes 8 bonus tracks & remixes and a 4 page booklet. Ninety is the second full-length album and first on ZTT Records by British electronic music group 808 State, released in 1989 and featuring the UK Top 40 single ''Pacific State'' which reached #10 in November 1989. 808 State's debut album release on ZTT Records wasn't the first major U.K. house/techno release, but arguably, it was the most important at the time, gaining a reputation over the years as a true classic in the field of electronic music. It helped to fully lay the groundwork for the '90s electronic revolution that continues to play out in the U.K. Slant Magazine listed the album at #54 on its list of the ''Best Albums of the 1980s'' saying ''A thrilling expansion of the possibilities for acid house and arguably the best LP ever produced in the style''. ''Puts the Mancs right up there with their forebears such as Kraftwerk. State of the art and one of the blueprints for the '90s.''
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25th anniversary album! First pressing of 750 numbered copies on yellow vinyl. Includes 4 bonus tracks & a 4 page booklet. ex:el is the third studio album by 808 State, released in 1991. In contrast to the band's previous works, the album features heavier beats and percussion, embracing earlier flirtations with hip-hop and industrial music. The album also features the guest vocals of Bernard Sumner of Joy Division and New Order fame, who sings on ''Spanish Heart''. In addition, Bjork sings on ''Qmart'' and ''Ooops'' and is credited with co-writing the two songs, establishing a partnership with 808 State's Graham Massey that would result in his working on many of her solo projects. Add to all this two of the best techno singles from the early '90s,''In Yer Face,'' a subtly politicized anti-American slammer, and the almighty ''Cubik''; and ex:el stands out all the more strongly. A true masterpiece. ''ex:el is 808 State at play, The soundtrack to a party, with all the moments of elation, exhaustion and regret.''- Record Mirror
In the wake of the release of A Tribe Called Quest's first album, 1990's stellar People's Instinctive Travels and the Paths of Rhythm, critics who had previously ignored hip-hop sat up and took notice of Q-Tip's sophisticated and unorthodox productions, and Phife Dog's party rocking but winningly self-deprecating rhymes. But the critics often overlooked Tribe's far-reaching roots in the hip-hop underground and their larger place in the history of black music in general. The Low End Theory was in many ways a conscious attempt to redress these critical oversights; it also happens to be one of the finest hip-hop albums ever recorded. From the sinuous Art Blakey samples and myth-making rhymes of "Excursions" to the joyous free for all of the epic posse cut "Scenario", The Low End Theory is a stone masterpiece that establishes Tribe's place in hip-hop's history. They draw on everything from the crowd-hyping improvisations of their early park jams, to the complex sciences of Golden Age rhyming styles. Simply put, The Low End Theory is essential for anyone seeking to understand hip-hop.
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A Tribe Called Quest‘s final album and first in 18 years: We Got it From Here… Thank You 4 Your Service.
2016 release from the Harlem-based hip hop artist, a member of the A$AP Mob (along with A$AP Rocky and A$AP Yams). Always Strive And Prosper is the long-awaited follow-up to 2013's Trap Lord. The album features collaborations with Schoolboy Q, Future, Big Sean and others.
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Cozy Tapes, Vol. 1: Friends is the debut studio album by hip-hop collective A$AP Mob. The album contains verses from each member of the A$AP Mob group such as A$AP Rocky, A$AP Twelvyy, A$AP Ant, A$AP Ferg, A$AP Nast, Playboi Carti and Yung Lord (A$AP Bari). A$AP Mob enlisted the variety of guest vocalists from Juicy J, Key!, Wiz Khalifa, BJ the Chicago Kid, Buddy, Skepta, Lil Uzi Vert, Lil Yachty, MadeinTYO, Offset, Tyler, The Creator and Yung Gleesh; as well as the album's production was provided by Hector Delgado, alongside several other record producers such as Juicy J himself, Crazy Mike, Dun Deal, Lil Awree, DJ Smokey, Plu2o Nash, Maaly Raw and Wavy Wallace.
The second studio album by ASAP Rocky, AT.LONG.LAST.A$AP finds the unflappable Harlem native marveling at his own meteoric success through an expertly curated set of beats—with production that corrals toothsome rock and soul samples, atmospheric pop menace, and trunk-rattling traditionalism. The album features guest appearances from Joe Fox, Bones, Future, M.I.A., Schoolboy Q, Kanye West, Juicy J, UGK, James Fauntleroy, Lil Wayne, Rod Stewart, Miguel, Mark Ronson, Mos Def, A-Cyde and A$AP Yams, while the production was handled by several high-profile producers such as Danger Mouse, Jim Jonsin, Mark Ronson, Emile Haynie, Mike Dean, Kanye West and Rocky himself.
A-Trak established his reputation as a producer by delivering some of the most ubiquitous remixes of the last ten years. The Grammy nominated DJ hero and renowned tastemaker has built a legacy that traverses eras and scenes, with a discography that is adored by all. This body of work is commemorated for the first time with In The Loop. The 12-track compilation (out in December on Fool’s Gold) effectively traces a recent history of EDM from the point of view of one of its biggest stars, collecting A-Trak’s most notable remixes — from blog favorites to festival smashes — and contextualizing them with anecdotes from their creator. In The Loop: A Decade Of Remixes will be available on all digital services and CD, as well a beautiful limited edition vinyl box set; the latter features six 7” colored vinyl singles in custom sleeves, accompanied by a 32 page booklet with A-Trak’s behind-the-scenes stories on each remix. Read his introduction below: I learned how to produce by doing remixes. It was my testing ground. In 2006 I had been DJing for over 10 years and my brother Dave was a seasoned musician, but I was still a novice in the studio. Making a full original song can be daunting, so here I was able to hand-pick my favorite vocals, steal a few kickdrums and chop up some cool synths. My remixes also allowed me to get my music heard. I didn’t have to finish a full project. They gave me an à la carte formula, landing on various labels. The great thing about remixes is they create an ecosystem.It’s almost like a shared economy. They forge bonds between artists: a remix request is the equivalent of giving your peer a pound and saying “you’re dope, give me some of that sauce.” They connect bands to DJs, producers among themselves, and all of them to new fans. For me this all started as electronic music blogs were spreading. We rarely went through managers. You would track down someone’s email and hit them up, cold. We helped each other finish tracks. I often delivered mine very, very late. But even to this day as I work on more original music, my sound is the result of these experiments.
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Twenty years ago, Age Ain't Nothing But A Number introduced the world to the stunning talent of Aaliyah. Her sensuous, soulful vocals, combined with the writing and production skills of R. Kelly, established her as one of R&B's brightest stars. This collectible 2LP edition of her debut is pressed on white 180-gram vinyl and features the Top 10 hits "Back & Forth" and "At Your Best (You Are Love)" plus the rare international bonus track "The Thing I Like."
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Mondo is excited to unveil the soundtrack for Marvel’s Luke Cage, the Netflix original series, with collectible artwork of the bulletproof hero by Matthew Woodson. Composers Adrian Younge (Something About April) and Ali Shaheed Muhammad (A Tribe Called Quest) have combined forces to produce one of the best scores of 2016 featuring an inspired, genre-bending blend of orchestral score and 90s hip-hop beats, filtered through the sonic lens of the works of Ennio Morricone. It’s no surprise that the score hovers in the same terrain of the Spaghetti Westerns soundtracks of Morricone – the narrative of Luke Cage plays out like a modern Western, only set in Harlem. Muhammad and Younge have meticulously crafted one of the most unique sonic landscapes in the history of television. “We sought to create a score that reflects the world of Luke Cage. We see this world as a place where classic cinema meets classic Hip Hop,” said composers Ali Shaheed Muhammad and Adrian Younge.
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Championed by everybody from John Lennon to Peter Gabriel—and decried by “Establishment” critics ranging from Vincent Canby to Gene Siskel—El Topo remains one of the controversial movies ever made. Director Alejandro Jodorowsky’s bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire “Midnight Movie” counterculture phenomenon of the early ‘70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score—after, no doubt, intently studying the work of Morricone—is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this oneof-a-kind soundtrack album on LP in limited edition (of 330) “Coke Bottle” clear vinyl LP. What’s more, the release replicates the gatefold packaging of the LP and includes the fourpage booklet boasting some of the film’s hallucinogenic imagery that came with the original release. Produced for reissue by ABKCO’s in-house Engineer Teri Landi and Mick Gochanour, with lacquer cutting by Carl Rowatti at Trutone Mastering from the original 16- track analog tapes, Real Gone/ABKCO’s release of El Topo on LP fully captures Jodorowsky’s singular sonic vision.
Now in a brand-new white vinyl edition limited to 372 copies! One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York’s Elgin Cinema. After six months of soldout midnight screenings at the Elgin, it was Lennon’s manager, Allen Klein (ABKCO’s founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, “another kind of music—something that wasn’t entertainment, something that wasn’t a show, something that went to the soul, something profound,” for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver—the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, “Trance Mutation,” give way to an almost jaunty percussion-and-plucked-strings melody, “Pissed and Passed Out.” On the next track, “Violence of the Lambs,” a single flute is slowly joined by a set of mournful strings, while “Drink It,” an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief’s ill-considered decision to guzzle tequila (or sleeping potion). Then there is “Christs 4 Sale,” a blaring orchestral riff that sounds like it was ripped from a 1950’s swords-andsandals epic. The next track, “Cast Out and Pissed,” begins with a bee-like buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. “Eye of the Beholder” which follows, changes moods entirely once again—a string section swells with overwrought romanticism. And then there is “Communion,” a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain’s first 24 minutes! Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents the original soundtrack to Alejandro Jodorowsky’s 1973 masterpiece The Holy Mountain. The CD gatefold double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece with lacquer cutting by Carl Rowatti at Trutone Mastering, this long-awaited release of Alejandro Jodorowsky’s The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience.
The 10th Anniversary of the 5x Grammy Winning Album that Launched Alicia Keys' Career. Appearing On Vinyl for the First Time! Alicia Keys’ debut album, Songs in A Minor, made a significant impact upon its 2001 release, catapulting the young singer/songwriter to the front of the neo-soul pack. Critics and audiences were captivated by a 19-year-old singer whose taste and influences ran back further than her years, encompassing everything from Prince to smooth ‘70s to Billie Holiday. By mixing R&B with a sultry dose of neo-soul, Alicia Keys became an international star. The original release of Songs in A Minor sold more than 11 million albums worldwide and garnered Keys with her first five, of 14 total, Grammy Awards including Best New Artist, Best Song of the Year for “Fallin,” and Best R&B Album.
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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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