Collection of self-recorded covers of songs by Frankie Cosmo's friends.
Jay Dee, aka J Dilla, emerged as a Hip Hop producer to be reckoned with in 1995 when his name was attached to the first single from The Pharcyde's eagerly anticipated sophomore album "Labcabincalifornia". Drop the needle on his first Pharcyde production "Runnin" and you have the launch point of a producer's career that mesmerized, titillated and expanded the domes of Hip Hop fans for the next decade. "Jay Deelicious: Originals, Remixes & Rarities" documents Jay Dilla's early production on Delicious Vinyl. Working closely with The Pharcyde and Michael "Mike Floss" Ross, (Delicious Vinyl's founder), Jay Dee was instrumental in keeping The Pharcyde's second album as ear poppin' and bugged as their maiden classic "Bizarre Ride To The Pharcyde", stepping up big time after the group parted ways with "Bizarre" producer J-Swift. In addition to original productions and remixes for "Labcabin", Jay Dee skillfully worked with the label on incredible mixes for the Brand New Heavies, as well as unreleased remixes for former BNH singer, N'Dea Davenport. From the jazzed out Rhodes syncopation of "Sometimes" featuring Q-Tip, to the crazy cutting up of "Got To Give It Up" for "Saturday Night" featuring Mos Def, Jay Dee shows there's no tempo he can't freak on some otherworldly jazzed up funk tip. So put on your head phones and take a trip into the early work of a Hip Hop master. Umm Umm JayDEElicous! In respect to Dilla's legacy, all proceeds from the sale of this release will go to Maureen (Ma Dukes) Yancy.
Omar Souleyman's Bahdeni Nami, featuring productions by Four Tet, Gilles Peterson, Modeselektor, and Legowelt, is now available as a cassette, with download code included. Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander (MONKEY 056RMX). Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.
Limited edition 18 min high-bias cassette tape! Comes in a clear Norelco box.
A true community effort, Zona Music(a) proudly presents “West World” from the legendary Sacred. Sacred co-founded the celebrated Los Angeles dance party JUJU and was also a part of the inner circle of the now famed Los Angeles beat night “Sketchbook” which birthed artists like Ras G and Flying Lotus. On ‘West World’ he takes his mastery of music to the next level through 31 original tracks. Though he didn’t ascend to being a household name like some of his peers, Sacred’s sound and passion for music shines bright. He is a real inspiration.
Sold Out - $8.99
j^p^n's enigmatic presence plays hand-in-hand with the wizardry surrounding his music. His sample flips range from nostaglic, smooth soul to angelic choir vocals, but it's what blooms around the samples that makes his music so unique: masterful layering and whipping percussion. [ favor ] is a dense 22-track album made for cassete and reminsicent of the work of producers like Knxwledge, Swarvy and Ohbliv.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’ But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.
“You’re cool, the engine’s hot, the girls gorgeous. A tankful of gas and an openroad…The rest is up to you!" Different Worlds Music Group/Fat Beats are thrilled to announce the release of the latest album from Skizz (DJ Skizz), “Cruise Control,” available everywhere on July 29th, 2016. Cruise Control is Skizz’s 2nd official producer album. Over the last couple years, Skizz has been working extensively with Your Old Droog, both producing and mixing his music, helping to propel the career of the young MC from Coney Island. He has also been touring with Droog as well as making beats for other noteworthy artists. Skizz has also been busy helping to start the new music label, Different Worlds Music Group. This will be the 2nd official release from Different Worlds. The label released Timeless Truth’s critically acclaimed “Cold Wave” album this past February. “Cruise Control is a progression for me sonically,” says Skizz. “This album takes you from where B.Q.E. left off- it’s still that raw boom-bap, but this album is a bit more laid-back and melodious. It just feels good, like you’re cruising with your lady and the cool breeze is blowing through your hair!”. Skizz recruited a mix of veteran OG MCs (O.C., Planet Asia, Roc Marciano, Evidence, etc) as well as upand- comers (Your Old Droog, Conway, Hus Kingpin, Da Villins,etc) to provide a sonically cohesive album that is set to be the official Hip-Hop soundtrack for the summer of ’16…
Los Angeles native Zeroh gets loud, technical and strange all over again on his new 10-song album "Tinnitus" [HNR65], which is essentially well crafted organized noise. The album was strung together and embellished amongst 15+ hours of music in a dark smokey garage on little to no sleep. The severity of this raw bludgeoning, echoes pain in the heads and ears of your typical everyman in an attempt to bring them to higher state of consciousness. Even so, Zeroh emanates a low glowing light close to the chest... the one saving grace for this genius god awful cacophony.
Magic (LP) is Hairy Hands' first full-length release and it picks up where last year's 'Battlecat' EP left off. Multi-instrumentalist, producer and singer James Alexander Bright (Hairy Hands) sits in the front seat alongside fellow label mate Peter Lyons. The album weaves its way from spaceship bathroom romp past wonky breathless samples chopped in a way only Hands makes work. A true journey lies within Magic. Get it on cassette via New Los now and enjoy this incredible music. Don't sleep on this one.
My Chemical Romance release their posthumous greatest hits album - "May Death Never Stop You". The collection spans the decade-plus career of this remarkable band, whose unique, theatrical punk-pop sound earned them legions of devoted fans. MCR rose from the East Coast underground to the forefront of modern rock during the early 2000s to become a multi-platinum selling artist, with four commercially successful studio albums : I Brought You My Bullets, You Brought Me Your Love (2002), Three Cheers for Sweet Revenge (2004), The Black Parade (2006) and Danger Days: The True Lives of the Fabulous Killjoys (2010). In the form of one final hurrah one final single, Fake Your Death has been included on this album. The track is one of the last songs the band worked on in the studio together. As something of a eulogy for the band, frontman Gerard Way has rendered the track "...a service to those who believed in a band that did not compromise, and a wave goodbye to all. And yes, it is fucking heartbreaking."
Private Energy is the fifth album from Roberto Carlos Lange a.k.a. Helado Negro. Written and produced by Lange, the album is an interpersonal communication of sounds about his surroundings past, present, and future. Private Energy, which follows 2013’ s Invisible Life and 2014’ s tour de force Double Youth, continues the work Lange has done as an artist, culminating in the most captivating artistic statement of his career. The music draws from his expansive knowledge of sampling, sound synthesis, recording and history of references, and the album was created as a performance piece in tandem with his Tinsel Mammal dancers. Present at each Helado Negro show, the Tinsel Mammal dancers, costumed head-to-toe in silver strands, are a visual representation of sound and a sensual gateway to profoundly personal lyrics. The Tinsel Mammals are not representative of any human form. They work as a shimmering objects that represent the ideas of genderless and raceless beings and Private Energy’ s themes of self-love, pride, and the embrace of constant change.
Limited to 200 Cassettes! High-Bias aqua cassette tape with J-Card in a clear Norelco Box.
Debut solo album from ilajide of critically acclaimed Detroit quartet Clear Soul Forces. Entirely self produced and written, HEET TAPE is his most introspective and open project to date. Out on Rappers I Know / Pocket Jams. Featuring the singles Don't Fake, and 800-101-700-1100
“I like to tap into people’s imaginations. When I spit, I try to make movies with my words…” Armed with his unique delivery, gruff voice, and sharp wit, U.G. is well-equipped to do just as he wishes when he hits the booth. Whether on his own or earning critical acclaim as one-half of the Cella Dwellas, the Brooklyn rapper has been a giant amongst the NYC rap underground since ’94. And on Portals, his long anticipated solo debut, he proves exactly why so many look his way for music that’s incredibly fresh, and completely his own. Portals is a 14-track journey into just what U.G. set out to accomplish—a movie-like atmosphere anchored by well complemented production (entirely from IDE) and extraordinary rapping. That much was evident on lead single, “The Mystic,” which is equally eccentric in its wordplay and technical displays as U.G. flows over the creeping instrumental. Elsewhere, the BK spitter taps into his cinematic vision with joints like the harrowing “Might & Magic,” and the super-grimy, “Ready for War.” Interestingly enough, U.G. credits his movie-like approach with what makes his music so appealing to his fans. “That inner-kid comes out of them when they hear that stuff,” he says. “We (U.G. and IDE) are both visual artists as far as our approach to sound is concerned.” Beyond the concept, the rapper and producer just love Hip-Hop culture and wanted to represent it right. They may be taking a Boom bap excursion into another dimension—and likely one in a distant galaxy—on Portals, but this is pure, raw, unadulterated Hip-Hop to the bone gristle. Portals is set to drop Oct 21st via Creative Juices Music, and will be available on Compact Disc as well all major digital retailers and streaming platforms. Its features include Mista Sinista, DJ White Shadow, Celph Titled, Life Long, and Necro.
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.
Just in time for Cassette Store Day, 2016, Coalmine Records is pleased to release a limited edition run of ‘Land of the Crooks’; the collaborative extended play release from the late Sean Price and Melbourne’s go to producer, M-Phazes. The project finds the longtime underground legend lending his distinctive, Brownsville- bred grimy vocals over Phazes’ rich tracks full of dramatic pianos, thunderous basslines, swinging horns and bold drums. Side-A includes the main passes, comprised of four original tracks with the addition of the Small Professor Remix for ”Murdah Type Thinkin” (feat. Guilty Simpson), while the B-Side includes all of the instrumental passes. Additional features on LOTC include Roc Marciano, Billy Danze (of M.O.P.), Maffew Ragazino, Loudmouf Choir and the Dilated Junky, DJ Babu. Cassettes are manufactured on black matte shells with red leaders, and comes complete with the Andres Guzman designed artwork, inspired by the vintage ‘80s movie, ‘Crocodile Dundee.’ Sean Price was Hip-Hop’s Gray Hulk, a barbarian with the pen, with the sharpest of wits. A true Brooklyn legend...riP! If you’d like to make a donation to directly assist Sean’s family, please refer to his CrowdRise fundraiser: https://www.crowdrise.com/seanp
Ever order a kale salad and discover a neckbone in it? That’s funk. Ever written a love letter on a chicken grease-stained napkin? That’s funk. The Du-Rites are without a doubt the soundtrack to both of those situations, but by definition, The Du-Rites are a duo of New Yorkbased multi-instrumentalists comprised of Pablo Martin (guitar, bass, synthesizer) and J-Zone (drums, organ, bass, turntables, percussion instruments that require little skill). Funk comes from so many places that it’s hard to visit them all, but the duo manages to do just that on their self-titled (and almost wholly instrumental) debut LP on Old Maid Entertainment / Ilegalia Records (with Vinyl LP & Cassette Versions on Redefinition Records). From the greasy, lo-fi and syncopated grooves of the late ‘60s (“Bug Juice,” “Git’n Off,” “Ghetto Ferris Wheel”); to ‘70s cop show funk (“The Chief & I,” “Hustle”); to the slick stomp of the early ‘80s (“Du-N-It”), The DuRites have membership at both the rib shack and the discotheque. With influences ranging from the obvious (Booker T. & The MGs, Lalo Schifrin, Cameo, Kool and the Gang, The Meters, Jimi Hendrix, P-Funk, Motown, Herbie Hancock, and James Brown) to the obscure (overlooked late ‘60s funk bands Warm Excursion, TSU Toronadoes, and Willie & The Mighty Magnificents), The Du-Rites manage to bounce from improvisational, raggedy and psychedelic to tight and snappy with the skip of a track. Pablo’s proficiency in punk, disco, pop and Latin and J-Zone’s deep roots in hip-hop and jazz-funk combine to make one of the more off-kilter, but undeniably funky instrumental long players you’ll dig into.
Deep in the city of Porto Portugal, lives the unique,deep groove floating dialogue of a modern funk artist known as SAIR. His debut self-titled album displays his natural ability to let the groove unfold in his arrangements. In a landscape of rising G Funk arrangements, SAIR's peeks through the horizon with an EP woven together with as many natural drum arrangements as there are programmed drum arrangements, giving listeners a diversity we haven't heard much of since post disco's golden era of 1980-83. SAIR's songwriting ability moves the conversation forward with intricate drum arrangements framing beautiful chords and passionate synths, that give SAIR a voice that will move many in the worldwide community of modern funk and beyond.
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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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