Norty, previously known as Nortroniks, gained attention for his fresh take on electronic music production and fun, high-energy live performances. “We Were Nearly There” is a refined, genre-blending project that features indie-inspired vocals, inventive dance-oriented production and a heavy hip-hop back beat. Norty’s relaxed vocals sit on top of the album’s vibrant sound collage, creating the perfect summer soundtrack.
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A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong. The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011. The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD. ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.'' This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band. Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.
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The 'friggin' hottest indie film of summer 04' Music from the ''cult'' hit of the summer ''Napoleon Dynamite'' featuring original score by John Swihart, songs from the film, exclusives such as Rogue Wave's ''Every Moment'' (acoustic) and a rare track from Figurine ''New Mate'' (f/ Jimmy Tamborello of The Postal Service) and all your favorite ''laugh out loud'' classic Napoleon dialogue! 30 total tracks! Sweet! From Preston, Idaho comes Napoleon Dynamite (Jon Heder), a new kind of hero complete with a tight red 'fro,' some sweet moon boots, and skills that can't be topped. Napoleon lives with his Grandma (Sandy Martin) and his 30-year-old, unemployed brother Kip (Aaron Ruell), who spends his days looking for love in internet chat rooms. When Grandma hits the road on her quad runner, Napoleon and Kips' meddling Uncle Rico (Jon Gries) comes to town to stay with them and ruin their lives. Napoleon is left to his own devices to impress the chicks at school and help his new best friend Pedro (Efren Ramirez) win the election for Student Body President against the stuck-up Summer (Haylie Duff); all the while making sure to feed Grandma's pet llama Tina, and avoiding association with Uncle Rico and the herbal breast enhancers he sells door to door. Napoleon and Pedro put their skills to good use, but it is a surprise talent that leads the two to triumph in the end.
Vulnicura Live was mixed by Björk with help from Arca and the Haxan Cloak, both of whom also worked on the studio version. The 14-song set will include performances of seven Vulnicura tracks, and seven tracks culled from the rest of Björk’s catalog. All the tracks were recorded from various performances throughout the Vulnicura album cycle.
Long awaited 2016 album from Clams Casino, the iconoclast hip-hop producer. His debut album includes 12 original tracks with vocal appearances from an impressive cast of collaborators, including Vince Staples, Kelela, Sam Herring (Future Islands), Joe Newman (alt-j) and more. The album also includes his first ever collaboration between A$AP Rocky and Lil B, on the track "Be Somebody." Creative direction and design on 32 Levels is by Trevor Jackson, the renowned art director, designer, moving-image maker, producer and Output Recordings label founder. In 2011, Clams Casino compiled a set of his favorite beats into the now essential mixtape Instrumentals Vol 1, that he achieved widespread recognition. Rolling Stone called him a "visionary," Spin described his music as "fascinating and ominously exhilarating" and he was lauded on BBC Radio 1 by legendary producer Brian Eno.
Big Crown Records is proud to present a reissue of the highly sought-after, very rare, and only release by Texas funk band, The Soul Explosives. Active in 1971 and 72, The Soul Explosives were a high school group from Kingsville, TX led by high school senior Skip Frazier. Their main goal was to play a neighborhood known as the"The Cut" in nearby Corpus Christ, where there were a number of Soul & R&B clubs. They paid for the recording and pressing of the 45 which was done by a tiny local Tejano studio/label, Bormeh. Copies of the record were given to friends and sold at shows. In '72 Skip decided to leave the group to pursue his college studies and they disbanded not long after. The A Side “Tryin To Get Down” is a lo-fi funk gem with all the makings of an underground classic. Driving drums and blown out vocals somewhere between encouraging and liberating are sure to peak funk fans ears. The B Side, a absolutely smashing cover of “Ain’t No Sunshine”, is nothing short of a must have. The Soul Explosives nearly instrumental cover might just be the toughest version on a 45. Another Big Crown sureshot.
The winter of 1996 gave us one of the most prolific albums from one of the most talented emcees to ever touch a microphone...Oh, and it just so happens to be a woman. When Philadelphia's own Bahamadia partnered with Gang Starr's Keith "Guru" Elam, and DJ Premier to produce her debut album Kollage, the energy was incredible, creating a body of work capable of standing the test of time. 20 years later it's done just that, and the Queen's masterwork Kollage is being reissued back where it belongs, on vinyl.
Where y’at? DJ Yamin (aka Professor Shorthair), Quickie Mart and Tony Skratchere have created the very first New Orleans Bounce Battle Break record! This 7” contains exclusive samples not found anywhere else from NOLA Bounce artists such as 5th Ward Weebie, BJ So Cole and Hasizzle. It also provides all you DJ’s with the classic scratch sounds that you’ve all come to know and love (“Beep, Ahh Yeah, Fresh”). Doubles are advised and get ready to shake dat ass!
If The Analog Brothers didn’t exist, the weirdest scientist couldn’t have invented them. Or perhaps they never existed. Maybe it’s possible this was all a demonic 31st century hallucination cooked up by Kool Keith and cyborg alien pimps peddling flesh and white fluff acid. But how else to explain the ultra-rare, ultra-magnetic artifact left behind: Pimp to Eat. Originally dropping from the skies in 2000, it’s being re-released by Mello Music Group, and remains the timeless mind-fuck that it was when it first emerged. It’s a laser beamed synthesized hieroglyphic that could sound timeless in any century or sonic dimension. There are a few clear things amidst the craziness. The centerpiece of the record is Pimp Rex (AKA Rex Roland), the legendary Angeleno hustler, who did production for Body Count and the chorus on Ice-T’s “I’m Your Pusher.” He enlists his longtime collaborator Ice Oscillator (Ice-T), Keith Korg (Kool Keith), Marc Moog (Marc Live), and Black Silver (Silver Synth). These are the five fly horsemen of the apocalypse, the Analog Brothers delivering digital blows, oscillating sub-tones, and urinating out of windows. According to Ice-T, the original masters of Pimp To Eat were delayed when Kool Keith’s vocals were stolen during the melee that followed the Indiana Pacers–Los Angeles Lakers NBA championship basketball game June 19, 2000 in Los Angeles. Who knows if this is true? Maybe Reggie Miller was the culprit? All we really know comes from the abstractions assaulting our eardrums. Rex Roland’s tribute to the old analog sound, eerie synthesizers and pimp-slapping 808 drum machines. Ice-T and Kool Keith trade bars like a rap Scully and Mulder. In the first minutes, the erstwhile Dr. Octagon shouts out George Gervin, swap meets and the Ultimate Warrior. On “Analog Technics,” the man better known as Black Elvis throws feces at celebrities at the Billboard Awards, sporting Superman underoos, and driving a lime green Corvette. On “More Freaks,” Keith sniffs 8 grams of coke in Calvin Klein boxer shorts, watching Wide World of Sports. While Ice-T panders with Motorola Pagers, eating Grand Slams and asking you to meet him at the back of Denny’s. This is how it goes across 16 tracks of interstellar pimping. Out of the attics of the insane comes one of the most overlooked rap classics of its era, full of bizarre boasts, ice-cold and meteor-hard beats, and the best bad examples. You couldn’t say no even if you wanted to.
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The Beat Machine Coloring Book is a unique Coloring Book featuring a collection of over 30 inspired by Vintage Samplers, Drum Machines, and other Tools that shaped modern music. In addition to the coloring pages, the book also features historical information including the release year of each beat machine plus a brief history of the art of sampling.
Hit & Run presents this exclusive mixtape to coincide with CFO’s first ever European Tour. Contact Field Orchestra is produced by Southern California artist and musician Damon Aaron. In 2008 he came across a box of 7” tapes at an estate sale in Altadena that turned out to be field recordings of a turn-of-the century orchestra of ex-miners; recorded almost entirely with hand-made instruments and contact microphones. This became the source material for a collection of celebrated releases with Hit+Run. CFO has also appeared on Giles Peterson’s seminal compilation series “Brownswood Bubblers”(Volume 10), and contributed to Ninja Tune’s popular “Solid Steel” mix.
Look out for Pig Pen’s debut beat tape on Producers I Know. “Incredibly Illegal” is a 15 track epic that serves as a score to the happenings in the underbelly of every major city at night. Crime and the illegal activities that often lead to violence such as drug trafficking, gambling, robbery & the deception involved with chasing the almighty dollar. “Incredibly Illegal” is inspired by the scores of films like “Odds Against Tomorrow”, “The Pawnbroker” & “The Cool World”.
“Claws That Catch” consists of 10 compositions from producer/ musician Jaws That Bites. The title is a literary reference, specifically to the poem “Jabberwocky” by Lewis Carroll. This project was envisioned as a cross between a film score and the music that accompanies dramatic readings, It was sequenced specifically to tell a story in two parts (Side A & Side B). Do like track 7 says.
"Avocado Hi" is a collection of beats that Calvin Valentine has accumulated over span of 2013 and 2015 which he ultimately decided to include in a singular project. He called upon turntablist DJ Celsius to provide scratches, added film dialogue at key points to make it a concise project that enlisted the aid of EYRST and Producers I Know to bring it to fruition with visuals and a platform to present his vision to the public.“Avocado Hi” is an invitation to get in on the ground floor before Calvin Valentine stock goes way up.
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Modern Funk Fest was started in 2014 by one of the genre’s brightest stars, Brian Ellis, in his native San Diego. It then moved northward to LA, then to SF, back down to SD, and just had its fifth installment in Los Angeles at the Echo on May 13th, 2016. Here, we bring you an exclusive limited edition mixtape featuring the legendary Egyptian Lover (Egyptian Empire/Stones Throw) and Hotthobo (Voltaire Records/Hobo Camp). Egypt’s Mix includes classic music from Egypt himself, Midnight Star, Kraftwerk, Prince, and many more, as well as original Vocoder and Vocal Performances and a Synth Solo from XL Middleton. Hotthobo’s Mix features brand spanking new and mostly unreleased modern funk jams.
Limited to 500 copies. Reggie Blount’s new 7”, “Space Bitch/Stimulant” is up for preorder from Hobo Camp Records, and both tracks feature vocals from your favorite dirty old man of mystery, Zackey Force Funk. The two have a long history of collaboration starting in Tuscon, AZ years ago, including tracks on Zackey’s solo albums Money Green Viper and Electron Don, and now this 7”. Reggie as a producer was a very early adopter to the current funk movement, with seminal EPs on Clone in 2010 and 2012.
Limited to 100 copies. Emmanuel Armando Coto was born & raised in Hollywood, CA. A self-taught artist & musician, COTO first learned to play the bass, then swiftly graduated to drums and guitar, ultimately bringing Abelton into his instinctive production cache. Jamming & recording everything by himself in a cozy Rampart apartment, the “COTOWN” sound was born in late 2014. Months spent in the desert recording with mystic Gonjasufi honed his skills further, while back in L.A., a group of ace musicians began daily sojourns to COTOWN, contributing new instrumentation, technology, magic & more. The seven deeply emotive songs on COTO’s debut EP were all recorded at COTOWN during this fruitful period in 2015. This debut album shines the first golden rays of this journeyman’s archetypal quest. All production duties & instruments were deftly handled by COTO, with special guests Alex Gray (Sun Araw, D/P/I) and Francis Pagsuguiron (Dirty Bandits) each providing drums to a track, plus Gato Mercado (GatoLoco) & punker Trenttruce adding guitar & vocals (respectively) to “Mayan Rock”. Even the elusive Gonjasufi appears, credited with contributing lyrics to the closer “I Used To See Angels”.
Young Gun Silver Fox’s ‘West Coast End’ picks up where Daft Punk’s “Fragments of Time” left off—with a modern reimagining of the classic West Coast AOR studio sound of the mid- to late ’70s, when soulful and slick soft rock ruled the FM airwaves. This peak era of sophisticated analog production and stellar musicianship and songwriting produced iconic vibes from artists like Loggins & Messina, Fleetwood Mac, Steely Dan, the Doobie Brothers, Hall & Oates, Carly Simon, Ambrosia, and America (who tapped studio wizard and Beatles alum George Martin to produce). Now, just as DJs and music lovers the world over are rediscovering these classic songs and digging deeper for more obscure “yacht rock” artists, Young Gun Silver Fox drops a new album of original material. ‘West Coast End’ is a warm, fully enveloping album filled with breezy nostalgia and expert craftsmanship. Young Gun Silver fox is made up of singer-songwriter Andy Platts of U.K. soul-rock band Mamas Gun and multi-instrumentalist producer Shawn Lee, an American expat who has made a name for himself in the group AM & Shawn Lee, as well as his solo outfit, Shawn Lee’s Ping Pong Orchestra (see the massively popular and often-licensed “Kiss the Sky” featuring Nino Moschella). With ‘West Coast End,’ the duo created a wholly authentic homage to the golden age of California pop—written and recorded in cloudy London.
Limited to 500 copies on "Easter Yellow" colored vinyl, includes vinyl-exclusive instrumentals and acapella versions. In 2013, underground rap heavyweights Blu and Nottz teamed up for 'Gods In The Spirit,' one of the year’s most critically adored EPs. And upon its release, the duo made it clear they weren’t done there, but they also weren’t about to rush their follow-up. As much as fans clamored for its release, Blu and Nottz earned the ability to take their time with their sophomore effort. And that's evident throughout 'Titans In The Flesh,' which builds on its predecessor and proudly stands on its shoulders. Like 'Gods,' 'Titans' finds the Ca-Va connection keeping things concise and cohesive. They’ve delivered six tracks of original, brand-new material that slaps and bumps as much as it pours over with lyrical brilliance. Of course, that won’t surprise any longtime fans of either artist, both of whom have been steadily making their mark since first emerging on the scene (2003 for Blu, and 1998 for Nottz). Blu and Nottz are two of the most prolific and valued cultural contributors of their respective trades, and it’s while working together that the two make some of their most triumphant and powerful music. You hear that immediately on chest-pounding opener "The Truth," the pure funk of "Heaven on Earth," and the beyond-slick rhyming and crazy drums of "The Man." Speaking of “The Man,” Nottz steps to the mic as he closes out the track following a clever verse from Blu’s day one beat conductor, Exile. Elsewhere, Blu is joined on the mic by hard-hitting trio Bishop Lamont, Torae, and Skyzoo on “Giant Steps,” which boasts cuts from the remarkable DJ Revolution, while singer Shateish appears on soulful opener “The Truth.” Blu then sits it out on “To The East,” as he lets Definite, TriState, Mickey Factz, and Johaz command the bruising track. And as a bonus, the EP boasts a colossal flip of “Atlantis,” courtesy of J57 on production, with Akie Bermiss belting out a fiery hook. 'Titans In The Flesh' becomes available in limited supply on Easter-yellow vinyl on July 15, via Coalmine Records. Vinyl edition comes equipped with the instrumental and acapella passes of “The Man,” and the instrumental for “Heaven on Earth.”
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Rare Latin And African Grooves is the ultimate collection of rare gems packed into an 80 minute cassette. Paxico Records label head Chris Hound’s musical selections connect the dots between Latin, Afro, and beyond. This compilation is so good that we had to share. The cassette flows with blended, mixtape transitions between songs and features an unprecedented amount of rare tracks within. The album’s opener will inspire whole hearted anticipation of where the journey will take you. Like a domino effect, Chris Hound creates a classic mix tape with tracks that flow effortlessly one after another. Born and raised in Kansas, Chris Hound has made a name for himself in the music world over the years having played a crucial role in the now burgeoning DIY music scene of NYC.
The long awaited, limited 7” vinyl by Carmelo Torres y Los Toscos is finally out of the oven! It features two killer tunes written by Colombian legends Andres Landero and Adolfo Pacheco. Landero’s disciple Carmelo Torres, accordion virtuoso, imposes his own interpretations of these two traditional cumbia anthems, backed up with avant-garde Bogota’s band Los Toscos. Infusing psychedelic, surf, electric guitars, and powerful rhythm section to Colombian folklore, this tremendously effective combo takes cumbia to another level.
Ikebe Shakedown is back with another super-funky single, “No Answer”, from their debut EP Hard Steppin’. It’s a mid-tempo number that’s got some nasty horns and will make your ass shake uncontrollably. And did we mention this is a BATTLE RECORD? The Jive Turkeys’ version “No Answer” is on the flip!
Untitled Volume 1 is a special edition 45 that features 2 fan favorite instrumentals available for the first time on vinyl & includes a full color photo sleeve.
The Neon Demon is the latest film from acclaimed director Nicolas Winding Refn (Drive, Only God Forgives). Starring Elle Fanning (Maleificent, Trumbo), The Neon Demon follows Jesse, a young woman who moves to the neon-drenched city of Los Angeles to pursue a career in fashion modeling. Soon thereafter a group of beauty-obsessed women begin to circle her, hungering for her youth and vitality. Before long, Jesse finds herself caught in the sinister world of Los Angeles’ unforgiving underbelly. Keanu Reeves (The Matrix, John Wick), Christina Hendricks (Drive) and Jena Malone (The Hunger Games series) round out the principal cast. Director Refn turned once again to his frequent collaborator Cliff Martinez (Drive, Traffic) for scoring duties. Martinez has created a powerful, modern tapestry of sound utilizing synthesizers as a framework for the dark corners and vibrant vistas that make the City of Angels. The soundtrack also features the dark electro piece “The Demon Dance” by Julian Winding, as well as “Mine” a pop track by Sweet Tempest.“Waving Goodbye“, an original song written by Australian singer Sia and produced by the Grammy Award-winning producer Diplo serves as a bookend to the 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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