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"He is unmatchable in flow, delivery, and voice. Danny Brown has all the tools to be the greatest working rapper." -PITCHFORK Atrocity Exhibition is one of the freshest and boldest-sounding rap albums in recent memory, a sonic swirl inspired by the work of Talking Heads and Joy Division that nonetheless sounds like nothing else from the past or present. Featuring contributions from producers like Evian Christ, Petite Noir (who also lends vocals to the world-weary clang of “Rolling Stone”), Black Milk, the Alchemist and frequent collaborator Paul White, the album is full of laser-beam guitars, gym-teacher whistles, creaking vocal samples, and air-raid drones. It is the most intriguing take on hallucinatory rap since the heady heights of Cold Vein or Madvillainy. Known for his wide range of collaborations, including everyone from Purity Ring, the Avalanches and Rustie to Schoolboy Q, E-40, and Ghostface Killah, Atrocity Exhibition sees a continuation of this carefully curated mix. Kelela lends her snaking vocals to the intriguingly murky “From the Ground,” Cypress Hill’s B-Real delivers “Get Hi”’s languid hook, and Earl Sweatshirt, Kendrick Lamar, and Ab-Soul all convene for the twinkling ominousness of album standout “Really Doe.” “When XXX came out, all of us were peers, and those were the three rappers who were the best,” Brown explains on having the star-packed trio appear on the track. “I felt like we were competitors, they made me want to step my game up. I wanted to put the hottest rappers in the game on there.” This album is a highly personal take on Brown’s ruminations on life and the changes that have occurred -and those that didn't - following the ups and downs of career success. Atrocity Exhibition makes for a thrilling third installment in the Danny Brown biopic, one not to be missed.
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Anderson .Paak needed solutions. The California native saw both of his parents and stepfather sent to prison by the time he was 18, and earlier in his adult life, he, his wife, and his son endured homelessness after he was unexpectedly let go from his job at a Santa Barbara marijuana farm. ''When I look at my tree, I see leaves missing, generations of harsh living, and addiction,'' he sings in his old-soul rasp on Malibu, his second album as Anderson .Paak. He's faced uncertainty as a musician, too, but after ''Suede'', a song he recorded with beatmaker Knxwledge under the name NxWorries, caught Dr. Dre's ear, .Paak became a significant part of Compton: A Soundtrack by Dr. Dre, making six appearances on the album. Not surprisingly, those songs combined for .Paak's big break, and now, eight years after deciding he wanted to make music his livelihood, he's released his best project yet, an affecting album that masterfully marries hip-hop, R&B, and soul.
With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture. The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of "The Water[s]" set to hit stores soon. Originally released online in late 2014, "The Water[s]" features appearances from fellow rising stars Joey Bada$$ and Noname Gypsy, plus production from Statik Selektah, Kirk Knight, J.U.S.T.I.C.E. League, DJ Dahi, and many more. XXL called the project an “indisputable success”, declaring Jenkins “a formidable opponent to some of hip-hop’s most highly regarded MCs”.
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Gatefold sleeve with silver foil detail cover. The 11 track album on two heavyweight 12" vinyl records, includes card to redeem a 320kbit MP3 or 16-bit WAV download of the 11 track album when you receive the vinyl. Radiohead's long-awaited 9th studio album, produced by Nigel Godrich. Album cover art by Stanley Donwood.
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Fat Beats Records is proud to present Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hip-hop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound. Every volume’s 500-unit, strictly limited vinyl pressing features one artist and twelve tracks, but only 250 units will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a flexi disc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement. Volume Two highlights Richmond, Virginia’s based beat maker Ohbliv, whose style is best described in his own words: “The compositions presented on this album represent getting back to the original intent of why I started making beats: creating a raw soulful experience. As artists in these fast paced times it’s important to remember our initial intent when we began, and mine was and always will be created what I want to hear first. If you dig it, dig it with me.”
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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
Following the success of his major label debut, good kid, m.A.A.d. city, in 2012, the rapper Kendrick Lamar's long-awaited follow-up, To Pimp a Butterfly (TDE/Aftermath/Interscope) is about carrying the weight of that clarity: What happens when you speak out, spiritually and politically, and people actually start to listen? And what of the world you left behind?
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Fat Beats Records is proud to present the next installment of Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hip-hop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound. Every volume’s 500-unit, limited vinyl pressing features one artist and twelve tracks, but only 250 randomly selected LPs will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a 7"" flexidisc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement. Volume Three highlights German producer Wun Two, whose inspiration and process is best described in his own words: I used to listen to all kinds of music when I was a small child. As a teenager, I decided to try to make my own music, but I never had the intention of making it available to the public. Maybe five or six years ago a good friend told me to put some stuff on a Soundcloud page, and everything else took its course. When it comes to making beats, I tend to follow the same scheme…I listen to a lot of music and if I find something that I’m feeling I try to make something with it. I’ll program an easy drum pattern and chop the sample or a whole loop to it and add a bass line. I try to make simple instrumentals; because I don’t play the instruments myself, but rather create something that I would call a "collage”. I grew up and studied in a small quiet village surrounded by forests. In this context I would say my music, this “collage”, sounds calm and very much inspired by nature. I just do what i feel; the compositions always mimic this inspiration.
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Fat Beats Records is proud to present Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hiphop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound. Every volume’s 500-unit, strictly limited vinyl pressing features one artist and twelve tracks, but only 250 units will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a flexi disc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement. Volume One highlights Los Angeles born / Sacramento based beat maker Dibiase, whose style is best described in his own words: “It’s crazy to think that my equipment collection and beat making process started back in high school with just an 8 second Gemini sampler and a Sony Walkman. It was a super basic set up. Back then I used whatever I could get my hands on. Finding different samples, looping them up, running the layers back through the Walkman. Adding more layers and repeating that process until I had a beat. It worked. My process is a lot different now but in some ways it’s the same. I still do a lot of layering. I use a combination of hardware and software. Sometimes I start with a sample. Sometime I start with drums. It depends on my mood and the genre. Sometime I use a kit. Other times I will sample and layer drums, run them through another piece of equipment like the SP-12 or 404 to dirty them up, then dump them back into Ableton. I really don’t have a set way of doing things musically. I like to experiment with different technics and styles. I like my music to have a certain sound. Most of the time I let the process happen naturally.”
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Box set includes three, extremely limited remastered archive cassette recordings of the classic Stretch and Bobbito radio show, along with a DVD copy of the acclaimed feature film Stretch and Bobbito: Radio That Changed Lives, directed by Bobbito Garcia! During the 1990s, Stretch and Bobbito introduced the world to an unsigned Nas, Biggie, Wu-Tang, and Big Pun as well as an unknown Jay-Z, Eminem, and the Fugees. The total record sales for all the artists that premiered on their radio show exceed 300 million. The late night program had a cult following in the art/fashion world and prison population as well. All would loyally tune in for the humor just as much for the exclusive tunes. Stretch and Bobbito brought a unique audience together, and created a platform that changed music forever. Includes three remastered archive cassette recordings of the classic Stretch and Bobbito radio show (3/24/94, 3/2/95, & 11/2/95), full-length DVD and poster insert.
Originally released in June of 1996, Beck's second major label album, Odelay, was his chance to prove that he was no one-hit wonder. His major label debut, Mellow Gold, had produced the hit single "Loser," but there was a sense he hadn't quite won over everyone and it was hard to tell exactly who Beck was. Was he joking? Was he serious? Was he simply some sort of beat-poet novelty act? With Odelay, he enlisted the Dust Brothers, most famous at this point for being behind the boards for the Beastie Boys' 1989 sonic-collage opus Paul's Boutique. Together they crafted a classic.
Blank Face is South Central hip-hop star ScHoolboy Q's follow-up to his 2014 major label debut, Oxymoron, after a pair of independent releases on Top Dawg Entertainment, including Habits & Contradictions (2012) and Setbacks (2011). The new album features guest appearances by Kanye West ("That Part"), Vince Staples ("Ride Out"), Jadakiss ("Groovy Tony/Eddie Kane"), E-40 ("Dope Dealer'), Tha Dogg Pound ("Big Body"), Anderson .Paak ("Blank Face"), Miguel and Justine Skye ("Overtime"), with production by Sounwave, Swizz Beatz, Metro Boomin, Southside and Cardo, along with Nez & Rio, DJ Dahi and members of TDE's Digi+Phonics team. The critics have raved about the album, with Pitchfork's 8.3 review calling it "a collection of catchy, urgent gangsta rap songs that show the South Central native at his charismatic best, gallows humor and tough talk failing to obscure a humane core." The Vulture's Craig Jenkins called "Ride Out," Q's collaboration with Vince Staples, "five minutes of these two cripping out of control over TDE maestro Sounwave's evil-robot disaster-movie production certainly does the trick." Rolling Stone's 3.5-star review hailed the new collection as "trapped and haunted...his music is richer for its resistance to escapist fantasy." Packaging: 2 pieces of custom orange opaque vinyl in a gatefold jacket
YES LAWD! As temping as it may be to just let that exclamation suffice as your sole introduction to NxWorries, we should go a little deeper. The men at the heart of this LP — soul styler Anderson .Paak and loop beast Knxwledge — make an exceedingly clean pair, even as they deal almost entirely in the gritty: vocals that sound lived in for a couple of lifetimes; beats that kick up dust as they bump; and an 18-track set that plays like a mixtape merging skits, songs, and snippets into a package of fluid groove and rough-cut rap ‘n’ soul gems. You may have heard these two out in the world, on their own or sprinkling some of their musical gold dust on someone else’s songs, but this is what happens when .Paak and Knx get home, lay back, light up, and let it go. If there’s a Blaxploitation vibe to Yes Lawd!, that’s just the depth of NxWorries’ funk and strut showing. If there’s gospel in the grits, that’s the history of the cooks. Each grew up with religion. It was Knxwledge’s job to tidy up the family church in Jersey as a kid, and when he was done, he got to play on the instruments. Better still, when those instruments went bad, he kept them. Similarly, he’d soon find sounds in his growing vinyl cache, and when he moved to Los Angeles in 2008 as a beat maker, his compositions ensured he’d be home at Stones Throw. His hypnotically dank 2015 LP Hud Dreems was the tip of an iceberg—75 Bandcamp collections, and counting. Paak was neck deep in those songs when Knxwledge reached out. The singer grew up in Oxnard drumming in his own family’s church. His folks got locked up when he was a teen, and while he’d eke by on odd jobs (grocer, trimmer, personal assistant), he was homeless for a spell with a newborn son. But .Paak pushed forward, building a career via imaginative albums (2016’s Malibu), and collaborations that always seem to make him the star, even when he’s just there to sing the hook. On Yes Lawd!, .Paak – who calls the album “my best work” – plays theatrically brash version of himself who sings like a ‘70s superstar and talks shit like a stone cold player. But the perfor-mance is seeded with details from his life, which has seen a fair share of struggle and hardwon triumph. Meanwhile, Knx weaves a tapestry of sampled bits and live fragments—bass, brass and violin—that smooths everything over, reminding us that despite whatever struggle it took to get here... well, you already know the name: NxWorries.
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"and the Anonymous Nobody" is the first De La Soul studio album in eleven years and as independent artists, free of record labels interfering in the creative process. True to the roots of Hip-Hop, the new album incorporates elements of Jazz, Funk, Rock, Country Western and more sampled to create the tracks. Sampling is how De La has always made music but after spending a huge part of their career fighting off the "sample police", De La decided to take a completely new approach, something Hip-Hop hasn't done before...sampling themselves. Over three years, De La collaborated with some of LA's finest studio musicians and recorded them in free-styled, unrehearsed, jam sessions. They played everything from banjo to upright bass, sometimes up to a dozen musicians at once; simply allowing sounds to integrate. Recorded in one of LA's most classic studios, Vox, the recordings have that creamy analog warm mixing board sound that the old records our parent's once played had. With over 200 hours of sounds, and vibes, equal to about 250 to 300 full-length vinyl LPs, De La began listening, enjoying and discovering those special moments where, musically, something magical happens, where interesting sounds and layers were forgotten, where new sounds can be sampled, looped, chopped, filtered and arranged, freely, without the intrusive presence of publishing politics and the infamous "sample police." "What we've done is created our own crates of records; album upon albums to mine and sample from. In our world, what we've created is freedom, freedom to make the art you believe in without having to compromise your vision. That's what we've always wanted most, that's what we've always believed in, that's what we've fought for..." -De La Soul
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Sean Price tragically passed away in August, 2015 at the age of 43. Sean was a popular rapper, hailing from Brooklyn, NY. He was celebrated for his work as ½ of the group, Heltah Skeltah, and 1/8 of the supergroup, Boot Camp Clik. However, his solo albums were what truly set him apart. To highlight this work, Duck Down Music has created a truly unique vinyl box set featuring Sean Prices' Monkey Barz, Jesus Price Supastar and Mic Tyson albums. The limited-edition box set has a hologram cover depicting Sean Price in the jungle, battling a gang of angry gorillas. The scene is reminiscent of the art portrayed from his previous titles. The box set will be available on Black Friday, November 25th, 2016!
The debut album from Kaytranada is now available to pre-order. 99.9% features guest turns from Anderson .Paak, Vic Mensa, Little Dragon, Syd, Craig David, Goldlink, Alunageorge, BADBADNOTGOOD and many more. LP: Double 12” vinyl. Gatefold sleeve. Includes a free CD of the digital album.
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Limited to 1000 on blue vinyl! Over two decades later, KRS One’s debut solo album Return of the Boom Bap finally gets the reissue it deserves. Pressed for the first time on color vinyl, this double LP not only includes a bonus 7” of Kenny Parker remixes, but also features the first-ever color sleeve on a U.S. pressing. Stripping away the intricate production of the final Boogie Down Productions album, Sex and Violence, Return of the Boom Bap saw the already iconoclastic rapper return to the bare bones, gritty territory of his landmark masterpiece Criminal Minded. KRS-One’s delivery, burned with a reinvigorated fury, spits out his rhymes with pummeling cadences and world-wise intelligence. Although the record isn't as focused on social activism and political protest as the latter Boogie Down albums, KRS-One never made his lyrics simplistic, nor did he turn his back on what could now be called prescient social commentary. The combination of raw beats and emotion-driven rhymes made Return of the Boom Bap a genuine comeback for KRS-One, one of the founding figures of modern hip-hop.
Panic At the Disco subverted the potential for a sophomore slump by taking a sharp left turn from the emo-fused pop-punk of their debut, A FEVER YOU CAN'T SWEAT OUT. Rather than retracing the footsteps that brought them popularity, Panic At the Disco made PRETTY. ODD., a headlong dive into pure 1960s pop psychedelia. From the floral print cover-art (framed by a vintage photo album-style border) to the artfully constructed retro symphonic pop inside, PRETTY. ODD. will surprise fans and stump naysayers. Both the self-referential opener, "We're So Starving," and the lead single, "Nine in the Afternoon," with its soaring chorus and echoing horn lines, channel SGT. PEPPERS-era Beatles. The drowsy, lovely "Northern Downpour" and the music hall send-up (complete with added vinyl crackle), "I Have Friends in Holy Spaces," suggest the band has also been listening to the Beatles' WHITE ALBUM. But although PRETTY. ODD. is indebted to the Fab Four, it also has a contemporary feel, and no shortage of guitar-charged rock. Most surprising is that this unlikely experiment succeeds on the merit of its ambition, wit, and fine melodic songwriting.
This is the first release from Anderson .Paak & Knxwledge as Nxworries. The EP includes the new single “Link Up,” “Suede” and “Droogs,” a Knxwledge remake of the Anderson .Paak single, along with instrumental bonus beats.
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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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