Record Label: Man Bites Dog Records
Following two acclaimed solo albums in the last four years, Hempstead, Long Island MC/producer Roc Marciano embarks on a new feat. Having almost exclusively showcasing his slick, gritty narratives over self-produced sparse, nostalgic beats, the former Flipmode Squad member and U.N. co-founder is opening his unique sound to some of his friends and respected peers for Marci Beaucoup.
Since early 2011, Roc plugged away at what he calls, "An album that wasn't all about me, but more of a project that was about how other artists sounded on my beats." Those guests include Cormega, Freeway, Guilty Simpson, Boldy James, Knowledge The Pirate, longtime affiliate KA, as well as AG Da Coroner. The last is Marci's first signing as VP of A&R at Man Bites Dog Records, the same respected imprint responsible for the third album in Roc's solo franchise.
Marciano hopes to gain recognition as the latest in a long line of championed MCs and beat-providers. "It's the music I grew up loving," he says of self-contained Hip-Hop. "Q-Tip, EPMD, Rakim, Ultramagnetic MCs-all of those artists, they weren't just rappers. They were involved in their sound and production. So I'm just pretty much following tradition." With his cold accounts of "Pimpstead," and a vividly-described metropolitan underbelly, Roc's dusty sources, film dialogue, and subdued basslines sound made for each other. However, after two albums that topped year-end lists, and prompted a reported debate between Jay Z and The Roots' ?uestlove over which was better, Roc says he has even more to offer in number three. "Now, when I listen to stuff that I've done a while back, I want to flip it a whole different way. Lately, I feel like I have no style: I do what I have to do. Back in the days, I stuck to a four-bar loop. Now, I don't have any rules." The unconventional approach comes to life on Marci Beaucoup, through Roc's personal highlights, including "Squeeze" with Random Axe's Guilty Simpson, and longtime collaborator, Brownsville's KA.
In honing his craft, Roc is deliberately hands-off with artists. "I don't come to people with concepts, unless we have to follow the guidelines of the track," he admits. "If I'm workin' with somebody, I want them to do what they feel. I don't want to govern a project too heavily. I'd rather just everybody do what they naturally do." Additionally, the Los Angeles-based New Yorker also only makes music when he's compelled. "The only time I really listen to music is when I'm about to do some creating," he says, referring to music beyond the N.W.A., Max B, and Erick Sermon in his current car stash. "That's when I start doing my digging. I did some record shopping today. I'll listen to the records tomorrow, or whenever I feel. I make the beats as I get the samples. I gather samples and push 'em aside to track the record."
With the third LP, Roc looks forward to offering an array of videos. "It's important for people to see records come to life. I'm trying to do more of that," said Roc, who hopes this project awakens more of his peers in addition to the growing fan-base. "People can now see how I do albums, and become more comfortable with it. Hopefully, more artists I respect can ask me to produce." In his trademark dry nature, the double-threat looks ahead and says, "I don't only just wanna be rappin'."
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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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