The iconic Fat Beats is currently celebrating 25 years in the hip-hop industry. As a retail outlet, label and distributor, the company has supported some of the finest independent music over the last quarter of a century, helping many of rap music’s biggest artists along the way. In the first of our series of features marking this epic milestone we speak to DJ Eclipse, who has worked for and been associated with Fat Beats since the beginning, ahead of this weekend’s Fat Beats 25 Anniversary show in Los Angeles.
It seems like everyone came through the doors of Fat Beats at some point in their career, from ‘90s veterans and indy rap icons all the way to Eminem and Kanye West. Give us some of your personal highlights from the in-store appearances and freestyle sessions you were there for?
One thing you have to understand about our scene is that maaaaaaaad people were nice! Obviously some better than others, but on a whole there were so many talented people that came through Fat Beats or just the indie movement that was happening in NYC in the ‘90s. Nine times out of ten who “made it” was less based on the individual’s talent and more based on the break they caught. If you would have asked me if I thought Kanye would have become as big as he is now based on his Fat Beats appearance I would have said my money is on Al Tariq or Black Attack (who Ye came with). There were too many people that were dope during that era.
Some of the best sessions at the store were when fellow emcees came to hang out with people that worked there (like ILL BILL or Q-Unique). At any given time a cipher might start up with Bill, Q, El-P, Last Emperor, A.L. Skills, Breeze Brewin, etc. A lot of the Rawkus’ artists had great in-stores like Shabaam, Kweli and L-Fudge. Other dope ones were KRS-One (who basically gave an on-the-spot lecture to the crowd for the whole time he was there), RZA, Psycho Realm, Mix Master Mike & Non Phixion, Immortal Technique…..but the biggest in-stores we ever had were Gang Starr (twice) and Eminem. Lines for them were down the block and around the corner.
Being part of a place that gave so many talented artists a platform, is there a particular emcee who blew up thanks to Fat Beats that you are most proud of?
“Blew Up” is a hard word to use because although most probably didn’t reach Eminem’s status many have made careers out of music. And I don’t think Fat Beats can take any credit solely for anyone’s success, but Fat Beats definitely played a part in helping artists like El-P, A-Trak, Black Milk, Dave One (Chromeo) and ILL BILL just to name a few. But more importantly than even helping one person was the field that we created for everyone to play on. During that time everyone was still itching to get a major label deal. We started stepping to artists and telling them stop waiting to get signed. Let’s press up your record and distribute it. The profit splits for artists automatically became a whole lot better. We weren’t trying to own the music. That stayed with the artist. We turned all this energy into a movement and with the help of the artists and people like Stretch & Bobbito who were playing the music it took off.
On the flipside of that, are their any emcees or producers stocked at Fat Beats that you were surprised didn’t blow up?
Definitely felt like Last Emperor and Natural Elements should have gone further. They were and ARE so dope, and at that time they had a lot of people checking for them. Emp got signed to Aftermath and we were all rooting for him. But once Dre picked up Eminem I think Em became Dre’s focus and other signees were left on the shelf. NE went to Tommy Boy who were trying their hand at picking up indie artists, but just like Emp, NE’s album got shelved for whatever reason. But like I said, it’s not always the most talented that move forward. Sometimes the universe has it’s own plans.
Music aside, Fat Beats definitely appealed to rap heads on an aesthetic level. The shop was basically everything you picture an independent hip-hop record store should look like: racks of 12”s, walls covered with signed record sleeves, posters and flyers, music pounding over the system, and staff who really know their shit. Were you guys conscious from early on that people would see it as way more than just a record shop, and as such was it something you tried hard to capture?
Well the vision Joe had from the start was to build a home for Hip-Hop heads to come shop. As far as how it all came together I think that was more organic and just part of our own personal makeup. We were all DJs or MCs or B-Boys. We all collected stickers, posters, vinyl, etc so when you walked into a Fat Beats store you were literally seeing our stash on the walls (in the beginning). And as the store started getting more of that stuff more went up on the walls and ceiling. The first Fat Beats location was basically like a DJs bedroom set up. Except there was vinyl for sale on the walls. And the floors. And anywhere else we needed to stock it to fit.
One Fat Beats story I’ve always loved is the ones about Percee P, there on the sidewalk selling tapes outside of the store. It was dope how that situation ended up giving his career a second wind. I’m curious about how you guys felt about his consistent presence right outside the store?
I love Percee, but never liked him or anyone else selling music in front of the store. I’d always tell all of them go down the block to the corner or even just move to the sidewalk by the curb. Standing directly in front of our door turned so many people away from coming into Fat Beats towards the end. It wasn’t just a digital revolution that killed Fat Beats it was the numerous “artists” that basically harassed people coming in and out of the store to get them to buy something from them. I had people tell me that they would cross the street to walk past Fat Beats if headed in that direction just to not be bothered by them.
It feels as though Fat Beats caught a moment in time that we’ll probably never see again. Downloading and streaming happened and record shops died. There’s a resurgence for sure, but pop-up shops and a lot of these new stores seem too clinical and gentrified, and the even the records are often just overpriced re-issues. Do you think we’ll ever see something like the original Fat Beats again?
Nah, that era is gone. The brand lives on to deliver the goods to the people via fatbeats.com and Fat Beats Distribution, but the era of physically going out to a store and hanging out and networking is a lost pastime. You have to remember we were in our 20s then. This was pre-internet. You HAD to do all this stuff. You had to go to a store to buy music. You had to go to an event to see/hear the music you were into. You had to go see your friends to catch up with them. Our generation is too old now to have the free time (or money) to do the things we did then and the younger generation is coming up with access to everything at their fingertips so they don’t have the need or want for that same experience we lived.
Lastly, tell us your top five 12”s that Fat Beats have distributed over the last 25 years.
Big L – “Ebonics”
Missin’ Linx – “M.I.A.”
Mos Def – “Universal Magnetic”
D.I.T.C. – “Day One”
Bumpy Knuckles – “A Part Of My Life”
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The Los Angeles Fat Beats 25th Anniversary show takes place this Saturday (August 10) at The Regent Theater, featuring Dilated Peoples, Elzhi, Tha Alkaholiks, Blu & Exile, J. Rocc and many more. Get tickets and find out more here. Follow DJ Eclipse and Fat Beats on Twitter here and here, and Instagram here and here. Interview by Grown Up Rap Editor Ben Pedroche.
The Busy Bee Starski vs Kool Moe Dee battle is still one of the greatest moments in hip-hop, sounding as fresh today as it did all them years back. It’s being released as a limited edition 7″, of which you can hear snippets below.
