Texas slide guitarist and gospel bluesman Blind Willie Johnson recorded only 30 songs over the course of his life as a preacher and street performer. Even so, the savvy combination of his gritty and powerful “chest voice” singing style coupled with his mastery of slide guitar (some report he regularly used a knife as a slide) has given him a notably influential legacy, specifically with later bluesmen Howlin’ Wolf and Robert Johnson. His tune “Dark Was the Night, Cold Was the Ground” was selected for Carl Sagan’s Voyager probe Golden Record, the Library of Congress as well as the National Recording Registry.
Louisiana delta native Huddie “Lead Belly” Ledbetter is the master of twelve-string blues guitar. His story is one of high-highs and low-lows, from serving stints in prison after killing a man in a fight for a woman’s heart, but then eventually earning early release by entertaining his fellow prison-mates and penning a song for the governor, thus cementing his reputation of singing his way out of prison. Folklorists John and Alan Lomax were early supporters that brought Lead Belly to the attention of Ivy Leaguers as well as a European audience. His songs have been widely covered by artists such as Elvis, Nirvana, Johnny Cash, and the Grateful Dead.
The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format.
The Carter Family, a family vocal group from Appalachian Virginia, were the most impactful discovery of talent scout Ralph Peer and the first vocal group to become country music stars. Apart from the beautiful harmonies that can only come from kin, Mother Maybelle Carter pioneered “scratch” style guitar picking, a clever synthesis of autoharp, banjo and guitar picking, and for years served as a matriarchal figure in the Grand Ole Opry.
Blues fingerpicking guitarist, singer and sharecropper Mississippi John Hurt was born in the heart of Mississippi Hill Country, along the veiny tributaries of the great American river. His moving renditions of “Frankie” and “Spike Driver Blues” were included in Harry Smith’s American Anthology of Folk Music in 1952 and were vitally influential on the Greenwich Village folk music revival of the 1960s as well as John Fahey’s development of the American Primitive Guitar genre.
The final album in the Melvins' major label span, Stag finds the band fully spreading their wings (and budget) to create what is arguably their most wide-ranging and diverse album among the nearly two-dozen full-length studio albums the band has released since 1987.
The stellar seventh studio album by the Melvins is one of the most cohesive and beloved in the band's catalog. With fan favorites like ''Revolve'' and ''Queen'' balanced with the impressive sound explorations of ''Lividity'' and ''Shevil,'' the result is one of the most praised albums of the band's 30+ year career. Mastered from original analog tapes, this is the albums first time on vinyl since 1994.
Signed to Atlantic Records in the hubbub after Nirvana's Nevermind exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like ''Honeybucket'' received MTV airplay. Mastered directly from analog tapes, this is the album's first time on vinyl since 1993, which includes six tracks produced by Kurt Cobain and a vinyl-only bonus track.
Live record, recorded direct-to-acetate in January of 2015 Shabazz Palaces is Ishmael Butler (Digible Planets) and Tendai Maraire, and their Lese Majesty was easily the most spun record on the Third Man office turntable in 2014. Our admiration reached new heights when we had the honor of hosting the Seattle-based duo for a live performance and direct-to-acetate recording in our Nashville Blue Room last year. In Third Man consigliere Ben Swank's own words, ''Shabazz Palaces' obstinately original oeuvre emanates from a fully formed higher conscious, they plant their flag in the outermost realms of the hip hop global soundscape where vibrations throb into beat-heavy explorations, chrome covered constellations of higher reveries each offering its own sonic boom.'' Ishmael and Tendai announced recently that they will be supporting Radiohead on their upcoming LA dates, and the group released a new video featuring footage from the Earth Science and Remote Sensing Unit, NASA's Johnson Space Center, and the Hubble and Cassini space missions for their track ''Dawn In Luxor'' just last week, We agree... you'd better go ahead and watch here.
Jack’s cover of the Stevie Wonder classic performed by White on the season finale of ABC’s hit series, The Muppets. This 7" single includes White’s cover with the legendary Muppets house band, the Electric Mayhem, on the a-side, plus the special TV rendition featuring the Electric Mayhem along with the rest of the Muppets singing along as the b-side.
Two 180-gram vinyl LPs, Tri-fold reversible jacket, double LP, soft-touch finish with spot UV, includes a 60'' x 12'' poster, a 36'' x 12'' poster and a 12-page booklet insert with stills from the movie The Hateful 8 is the eighth film by two-time Academy Award winner Quentin Tarantino, and the first time he has made a film with a dedicated score. Who better to help create and coordinate his first dedicated score than the legendary film composer and Academy Award winner, Ennio Morricone? Tarantino has used Morricone pieces in each of his most recent six films, including Django Unchained and Inglorious Basterds. The Hateful 8 marks the first time the two have collaborated throughout the production of the film to create a complete picture: bringing together the sounds, sights, and passionate grit to fabricate a truly well rounded piece of smart art. Morricone started writing music at the age of six and has been composing critically acclaimed film scores since the 1960's when his career was launched after composing the score to The Man with No Name trilogy starring Clint Eastwood. Morricone established himself as the master of spaghetti western scores and later on began working in all genres of film with directors such as Franco Zeffirelli, Federico Felini, Roman Polanski, and Roland Joffe putting him on par with the major composers and establishing him as one of the all-time greats, composing soundtracks for over 400 film and TV projects. He has made his mark on film by blending jazz, folk, blues, funk, and classical music to make for brilliantly simple scores that set him apart from the rest. In Tarantino's tradition of not confining his soundtrack selections to space or time periods, the soundtrack also features songs from Roy Orbison, David Hess, and The White Stripes to round everything out. Hateful 8 is the most sweeping and narrative soundtrack Tarantino has released yet, and is sure to become a classic.
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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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Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
- Familiarity with Microsoft Office applications
- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to firstname.lastname@example.org