Deluxe, Will Sessions’ debut LP of original material, contains tracks previously available as limited press 7" records, freshly remastered for a full length album. The album contains guest appearances from Detroit legends Allan Barnes (Blackbyrds) and Amp Fiddler (Parliament/Funkadelic), as well as Florida’s own 'King of Funk' Rickey Calloway, and relative new-comer Coko (Funk Night Records). The album is a collection of singles reminiscent of classic funk and soul with deep breaks, tight rhythm section, blazing horns, and raw vocal performances.
Fourth Studio Album from the venerable New York emcee and producer. Includes features from Ka and production from Knxwledge, Arch Druids and Roc Marci himself. Time waits for no man, but venerable New York emcee and producer Roc Marci remains a rare exception to the rule. Enchanting listeners with his dexterous lyricism, methodically soulful beats, and steely persona on releases like 2010's critically-acclaimed Marcberg, and his revered 2012 effort, Reloaded, the pride of Hempstead, Long Island emerges from the shadows after a three-year hiatus with the equally spellbinding Rosebudd's Revenge. This is the rapper's fourth studio album. Aside from appearances on landmark releases, including De La Soul's Grammy-nominated And the Anonymous Nobody, and Ka's Days With Dr. Yen Lo, Roc Marci's presence has been scarce, making Rosebudd's Revenge one of the more anticipated hip-hop releases of 2017. Enlisting his band of collaborators to join him on every song on his last release, Roc Marci flips the script on his latest offering. Rosebudd’s Revenge’s lone features are frequent collaborators: Brownsville emcee Ka on the epic sparring session "Marksmen," and Knowledge The Pirate on "No Smoke." This uncluttered lineup gives Roc Marci ample space to deliver his tales from the strip. Key selections from Rosebudd's Revenge include the suave, keyboard-laden affair "Better Know," "Killing Time," "Pig Knuckles," and the hard-boiled title-track, and boasts musings that rank among the best of Roc Marci's tenured run. Spilling his fluid flow over production from the likes of Grammy-nominated producer Knxwledge, as well as George Paulin, Animoss, Don C, Modus Op, and himself, Roc Marci reaffirms his placement on the musical avant garde and standing as one of hip-hop's preeminent lyricists on Rosebudd's Revenge, a defining effort that will leave fans salivating for more.
Los Angeles based label Cold Busted readies the second volume of a ten part series. This series covers the best Funk and Jazz inspired tracks found only on Cold Busted. Each release is hand-picked with many of the songs available on CD for the first time including cuts by Akshin Alizadeh, Mister T, Singularis, and Bloody Tadi. If you haven’t heard of Cold Busted then this is the compilation series you should start with.
The Greek beat-head massive is represented once again on the Cold Busted label with Beatbop Street. It’s an album from the cool new project AndyFellaz, a collaboration of Athens-based producer Billa Qause (Beatquick) and percussionist Nikos Martziokas (Wolfy Funk). Influenced by ’90s hip hop, trip hop, Latin montunos, jazz, and lounge, the pair have delivered fourteen exciting cuts that groove and shimmer with the best of ’em. Highlights include the melancholic skank of “Just One More Time”, “Rumbetas”’s classic acid jazz style, the funky swing of “Two Weirdos”, and “Madrugada”’s dreamy cosmic salsa. The set also includes contributions from Wolfy Project’s bass player Konstantinos Stamou, as well as Yegor Cergei who reveals an elegantly cut-up remix of “Just One More Time”. Beatbop Street will satisfy the hip hoppers, the loungers, the jazzers … pretty much any fan of funky downtempo will be convinced by AndyFellaz. Dig it.
“You have to find what works best for you. Some people got that It that is magical. Whatever that It is, you should use it and let it shine like the star that you are. It will take you far.” -I, Ced You may know I, Ced from his composition and production collaborations with artists like Hawthorne Headhunter partners Coultrain and Black Spade. What you may not know is that I, Ced isn’t just a beatmaker, he carefully crafts each body of work with inspired sounds, samples and his own live instrumentation. Born and raised in St. Louis, MO. currently based in Los Angeles, I, Ced is poised to take his musical pieces to the next level. Heavily influenced by the sounds of vinyl, piano, strings, James Brown, The Sugarhill Gang and gospel music, I, Ced has a wealth of musical inspiration to tap into at any given time. From an early age Ced was seen by his peers and teachers as a musical tastemaker and someone who was to pave the way for like-minded musical heads. In high school he quickly moved up the ranks from a saxophone and clarinet player in the band to musical director in the school theater. This was only the beginning musical possibility for I, Ced. Late in 2010 Record Breakin’ Music released Ced’s highly acclaimed “Another Look @ U / The Finale”. This limited edition 7” received praise and heavy djs and music fans from Japan, New Zealand, and across Europe and the United States. We are now extremely excited to finally release his debut solo album “All In My Mind”. This project Ced playes both roles as the lead singer and producer of the album.
In All Things is the first full length album from Columbia Nights, a self-described “soultronic” production group. Since releasing their critically acclaimed debut EP Dawn | Dusk (Record Breakin’ Music) n 2012, John E Daise, Jason Edwards and Hayling Price have shared the stage with the likes of KING and THEESatisfaction while developing their own sound. After building a local buzz, the Washington, DC trio’s blend of production wizardry and live instrumentation has led Okayplayer to dub them the District’s “resident electro-funkateers.” On their 10 track LP, the fellowship’s expansive musical palate shines through compositions that have been nurtured for several years. Grounded in a healthy stockpile of vinyl records, the sound-travelers have crafted a cohesive statement adorned with infectious bass grooves, far-out synths, and lush string arrangements. The trio describes the album “a testament to the interconnectedness we all share and the power of music to forge those bonds… Our name is reflective of the space and the time in which we create, and our work is undoubtedly a product of this environment. We formed Columbia Nights to help advance the art we love, and to challenge listeners to demand more from the music they engage with.” Featuring collaborations with vocalists including Aaron “AB” Abernathy, B.Jamelle, and Diggs Duke, the record also features some of soul’s most innovative and independent new voices.
Clutchy and Fatty....High desert crunch meets city life punch for this collaborative project in sound. Instrumental elements of soul, jazz, hip-hop, rock and more resonate throughout the record. Just what any Clutchy Hopkins or Fat Albert Einstein fan would ask for; track after track of laced up loveliness. These two gents pair banging rhythms with lush melodies and top them off with their signature low brow high fi sound. Guaranteed for some straight nasty. Acoustic and electric instrumentation set the tone and in their individual styles; Clutchy and Fatty navigate your journey through psych folk caverns of cactus dust and marine layer funk with bloodshot rust. It is distinctive, original and fresh, paying homage to the past, present and future. Visionary folk funk.
GrandeMarshall is Allen Iverson’s “Practice?” speech on wax: incisive, headstrong, and not here for your bullshit. From his teenage “800” and Mugga Man mixtapes to last winter’s “My Brother’s Keeper” LP, Grande has built a catalog of high-grade, highly personal Philadelphia rap music that answers to no one. Risk/Reward is his latest statement piece, eight new tracks (including single “STRESS”) featuring like-minded Philly MCs (Tunji Ige, Pauly Sue) and producers (Noah Breakfast, HeavenInStereo) in the service of one singular, head-nodding vision. Trust the process.
This Extensive Collection From The Group’s Dilla-helmed Era Is A Comprehensive Overview Of Fan-Tas-Tic V.1 and V.2. The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) Dilla himself went on to earn his own legend of brilliance, inspiring a slew of classic artists like Nas and The Pharcyde, to newcomers like Kanye West and Kendrick Lamar. It would be a gratuitous task to encapsulate the full magnificence of the material Dilla produced with Slum Village, but Ne'Astra Media Group have accomplished such a feat, with the arrival of the Fan-Tas-Tic Collection! A comprehensive overview of the underground group's Dilla-produced tracks across four compact discs. The CD includes the entirety of the namesake albums Fan-Tas-Tic Volumes 1 & 2, instrumental versions, and a bonus fourth collection of remixes and obscurities, featuring collaborations with Madlib & Pete Rock, and select cuts from Best Kept Secret, the group's rare release under the name J-88. The Fan-Tas-Tic Box is a veritable crown jewel for any fan of J Dilla or Slum Village, as well as an outstanding entry-point into the legacy of an underground hip-hop production hero.
After seemingly coming out of nowhere, Your Old set the internet aflame in 2014 with his self-titled debut EP, catching the attention of bloggers all over the web from New York Magazine’s Vulture to NahRight.com. Before long, conspiracy theories started and people began to posit that Droog was another older, legendary New York rapper in disguise. Profiled in The New Yorker, Droog (meaning “friend”in Russian) set the record straight about who he was: a twenty-something Ukrainian immigrant who fell in love with hip-hop when he arrived in South Brooklyn as a small child. The timbre of his voice resembled that of a hip-hop legend but Droog’s content had more to it than street dreams or observations from a project window. His music reflected his own unique life experience as he referenced everything from sports, to crime, to Seinfeld and C-Span in his rhymes. He was an intelligent hoodlum with a stand-up comedian’s sense of humor—unafraid to be as self-deprecating as he was self-aggrandizing. On his critically-acclaimed debut, the Your Old Droog LP, he vowed to “bring back storytelling” and now on his sophomore album, PACKS, Droog delivers on that promise. In addition to the raw rhyme displays on songs like the Alchemist-produced, “Winston Red” Droog flexes his narrative muscles both comically (“My Girl Is A Boy”) and dramatically (“G.K.A.C”) on this new album. For instance, the single “You Can Do It (Give Up)” is an ode to practicality over fantasy told in three vignettes. Co-produced by Edan, and Y.O.D. himself “You Can Do It (Give Up)” is almost the bizarro version of Biz Markie’s “Vapors.” The reclusive Edan also produces and appears on the raucous posse cut “Help” with Ratking frontman Wiki.The three MC’s trade bars over an explosive beat that is as inspired psychedelic rock as it is hip-hop. Droog also shares mic duties with fellow rap iconoclasts Danny Brown (“Grandma Hips”) and Heems (“Bangladesh”) and, for good measure, comedian Anthony Jeselnik lends his dark humor to skits between songs. Besides the return of Droog’s go-to production partner El RTNC, PACKS also features production from platinum producers ID Labs (Wiz Khalifa, Mac Miller) and 88 Keys (Watch The Throne, Action Bronson, Mos Def). The sum of it all is an album that stands out from the predictable offerings of mainstream rappers today. PACKS is a project for fans of hip-hop’s fundamentals and those who are interested in the progress of the art form. Finally, an album from a new artist that rap fans can truly believe in.
H.I.O.P. is Soia’s second album after the highly successful Mood Swings. Made in Taiwan and brought to Vienna, Austria (her parents’ origin) the culture clash incepted an affinity for a wide range of music. Growing up listening to classical music and African jazz, Billie Holiday’s sadness and beloved fusion jazz gave birth to her musical approach, while abstract hip hop damaged the rest. Her sound varies from jazzy improvisation to Nu Soul, creating her own unique style through her code-lacking manners. She has spent a lot of time traveling Asia, the States and Southern Africa. While working on her Master thesis in Biotechnology she met the producer Mez. This project will reflect on Soia’s own mood swings, from melancholic soul, stream of consciousness turned song, to feel good tunes - always going beyond the surface.
Thundercat presents “Drunk”- a 23-track epic journey into the often hilarious, sometimes dark mind of the Grammy-Winning singer/bassist - featuring a few of his friends joining him along the way including: Kendrick Lamar, Pharrell, Michael McDonald, Kenny Loggins, Wiz Khalifa, Kamasi Washington and Brainfeeder mastermind Flying Lotus. This 4x10" box set comprising four red vinyl 10”s housed in 3mm spined sleeves with artworked inners. Photography by Eddie Alcazar, artwork by Zack Fox and art direction by Adam Stover.
2017 album from the R&B trio. With over 20 million albums sold under their belts, Bell Biv DeVoe are back with an album featuring all new music. The lead single "Run," produced by Erick Sermon, finds BBD in a familiar space with the Notorious BIG sampled, "Hypnotize" beat. With Bell Biv DeVoe being one third of the original boy band New Edition, the project will receive additional exposure via BET's marketing and publicity campaigns for the highly anticipated 3-part mini-series The New Edition Story.
Hailing from within the heat of Florida, Brandon* is a gifted producer whose musical style is an eclectic blend of hip hop, jazz, lounge, and latin flavors. Tough beats move alongside swirling strings, soundtrack-ish atmospheres, and nostalgic orchestral arrangements, all seemingly lifted from obscure vinyl thrift store finds in the sunny retirement capitol. It’s a refreshingly perfect mix of elements, resulting in ‘beats music’ that is amorous and enchanting. This is even more apparent on Brandon*’s latest long-player on the Cold Busted imprint, titled Dreamscape: Part 4*. The producer’s other Dreamscape releases explored his distinct sound, and this latest brings Brandon*’s M.O. to further maturity and acclaim. From the bombastic bossa of “Cabana Chat” to “Oasis”’s gentle acoustic guitars to the tropical jazz vibe of “Rio Dio”, Dreamscape: Part 4* will delight and captivate, and nicely compliments an exotic cocktail.
One of the incredible things about recorded music is its ability to travel across time, space, and cultural boundaries. The story of Black Market Brass and their debut album, Cheat And Start A Fight, is a testament to that miraculous feat. Recorded in 2015 by the 12-piece instrumental band, the album is heavily inspired by the sounds of West African popular and spiritual music from long ago. In 2013, Secret Stash Records released BMB’s debut single to critical acclaim. The bible of all things funky, Wax Poetics, declared the record to be “Heavy Nigerian Madness.” Flea Market Funk raved: “This is some authentic music right here people, recorded in the United States. Inspired by the likes of The Funkees, The Black President, and Moussa Doumbia as much as James Brown and The Meters, this Twin Cities dozen (and sometimes more) is shoveling out their musical path with their unique sounds.” The entire pressing quickly sold out as Secret Stash shipped copies around the world. Two years later, after almost non-stop gigging and rehearsing, BMB finally tracked their debut album. Cut live in one room over three days, the recordings jump out of the speakers with an energy reminiscent of their celebrated live shows. The album’s title, “Cheat and Start a Fight”, and some of the songs on it are heavily influenced by Yoruba bátà music, as taught to their conga player by Chief Muraina Oyelami in Iragbjiji, Nigeria. From start to finish, Cheat And Start A Fight is laden with endless polyrhythms driven by intricate percussion, intertwined guitar parts, and rock-solid bass and drums. Atop that complex backdrop, the members of the 4-piece horn section, anchored by copious amounts of baritone sax, revel in their ability to effortlessly float back and forth between almost militaristic precision and ultra-loose, sometimes free-jazz inspired playing. The result is a strange sort of bootyshaking party music with a dark, heavy, almost post-apocalyptic undertone. It’s Afrobeat with heavy doses of psychedelic textures and feelings.
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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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