High Quality Dolby Digital Audio Transfers, Audio Pro Low Noise / High Output Tab In Cassette Tapes. Deluxe packaging with a 6 panel J card. Black Shell with a White Sticker Full Color Print (Limited to 500 Copies), Pink Shell with white Ink (Limited to 1,000 copies) and White Shell with Teal Green Ink (Limited to 1,000 Copies). There comes a time in every punk's life where he or she has to grow up, or at least acknowledge that maturity is just around the corner. blink-182 put it off for as long as they could, but ten years into their career and two albums after their big breakthrough, 1999's Enema of the State, they decided to make a stab at being grown-ups for their eponymous sixth studio album. As with many self-titled albums, the trio uses this as an attempt to redefine itself, and they have considerably expanded both their sonic template and lyrical outlook on blink-182. They're still rooted in punk-pop, but even songs that stretch no further than that sound are a little darker, a little restless, reflecting the overall mood of the record. In shorthand, this is the record where blink-182 delve into post-punk, opting for some appealingly sullen moodiness, off-kilter hooks, lots of sonic textures, and even a duet with the Cure's Robert Smith.erpol or even the dynamically hooky Hot Hot Heat, but there is a greater variety of sounds on blink-182 than on any of the trio's other albums, and the songwriting is similarly adventurous, alternating punchy, impassioned punk-pop with weirder, atmospheric pieces like ''Down'' and ''I'm Lost Without You.'' If nothing on the album has the immediate impact of ''All the Small Things'' -- though the opener, ''Feeling This,'' comes close -- and if, on the whole, blink-182 isn't as bracing or visceral as Dude Ranch or Enema, so be it: there's more to explore on this album than any of their other records. It's an unexpected and welcome maturation from a band that just an album ago seemed permanently stuck in juvenilia. ~ Stephen Thomas Erlewine
High Quality Dolby Digital Audio Transfers, Audio Pro Low Noise / High Output Tab In Cassette Tapes. Deluxe packaging with a 6 panel J card. Black Shell with a White Sticker Full Color Print (Limited to 500 Copies), Solid Red Shell with white Ink (Limited to 1,000 copies) and Solid Green Shell with White Ink (Limited to 1,000 Copies). On their third album, Dude Ranch, blink-182 follow in the same path as their first two, turning out 15 tracks of juvenile, adrenaline-fueled punk-pop. Some listeners will find their potty humor (''Dick Lips'') somewhat irritating, but the group has written some surprisingly catchy hooks, which might win over skeptics. The songwriting is still a little uneven, but overall, Dude Ranch is an improvement over their first album, Cheshire Cat. ~ Stephen Thomas Erlewine
High Quality Dolby Digital Audio Transfers, Audio Pro Low Noise / High Output Tab In Cassette Tapes. Deluxe packaging with a 6 panel J card. Colors will be random: Black Shell with a White Sticker Full Color Print (Limited to 500 Copies), White Shell with Blue Ink (Limited to 1,000 copies) and Light Blue Shell with White Ink (Limited to 1,000 Copies).If the title Enema of the State didn't give it away, it should be clear from songs like ''Dumpweed,'' ''What's My Age Again?,'' and ''Dysentery Gary'' that moving to a major label isn't a sign of maturity for blink-182. ''Dammit (Growing Up),'' the first single from their third album, Dude Ranch, brought them a wider audience and the attention of major labels, which was just too tempting to resist. They signed with MCA, but the only sign that Enema of the State is a major-label effort is the somewhat cleaner production and the fact that they could afford porn superstar Janine -- all decked out as (surprise!) an enema nurse -- for the album cover. Of course, the lovely Janine is as much an indication as ''Going Away to College,'' a catchy little number that pretty much repeats the narrative of ''Dammit'': blink-182 is not growing up, no way, no how, nowhere. And that's fine, because few of their peers are quite as blissfully stupid and effortlessly catchy as them. Sure, they might not show the emotional depth of Green Day, but they have good tunes and deliver them in a speedy, punchy fashion. Enema of the State isn't going to change anyone's life -- unless it's the first time a 13-year-old boy has seen Janine -- and it will likely irritate old codgers, but it's a fun record that's better than the average neo-punk release. ~ Stephen Thomas Erlewine
High Quality Dolby Digital Audio Transfers, Audio Pro Low Noise / High Output Tab In Cassette Tapes. Deluxe packaging with a 6 panel J card. Black Shell with a White Sticker Full Color Print (Limited to 500 Copies), Lime Green Shell with white Ink (Limited to 1,000 copies) and Light Blue Shell with White Ink (Limited to 1,000 Copies). Power punk funny guys blink-182 capture their witty stage presence on the limited-edition release The Mark, Tom and Travis Show (The Enema Strikes Back). Celebrating the quick success of their major-label debut, 1999's Enema of the State, The Mark, Tom and Travis Show showcases playful live cuts and previously unreleased tracks and, in keeping with blink-182's punk revivalism, the album is only available from the time of release and January 2001. The Mark, Tom and Travis Show is indeed a real rock show and catches blink-182's shameless personalities and childlike giggling about oral sex, dog semen, and masturbation. But that's what makes blink-182 popular: the band's ability to not care about anything is a carefree look for the pop kids buying its records. The bandmembers' immaturity is harmless and fans love it. The quick guitar riffs and swirling percussion are intact, and guitarist Tom DeLonge's hyperactive retaliations against the audience are merely an act for the sake of being cool. DeLonge and bassist Mark Hoppus are even funnier with their on-stage brotherly love affair. It's high-speed energy at it's finest, probably the cheekiest punk rock stake since Green Day's ''Longview.'' And in the midst of teen pop mediocrity and post-grunge rollickers, it's good to see a band such as blink-182 enjoying its time on top of the world.
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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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