If Dr. Dre represents the mainstream Los Angeles hip-hop scene better than any other producer, then Fat Jack best represents the L.A. underground. A mainstay on the South Central circuit since the Goodlife days of the early ‘90s, Fat Jack possesses the uncanny ability to match the feel of his beats with the sensibilities of each of the many emcee that he collaborates with. His early work with Volume 10 and Ganjah K highlighted a fine taste in samples, enabling Fat Jack to effectively translate the haunted aura of riotous streets to music. His contributions to the Project Blowed compilation as well as to Alien Nation in 1994 illustrated a refinement of style, with his signature soundscapes taking on much more of a sparse philosophy. The trend continued in 1995 with Fat Jack lending two of his beats to All Balls Don't Bounce by Aceyalone. Yet nowhere other than his role as the house producer for Abstract Tribe Unique has Fat Jack fit so appropriately. A series of albums titled Underground Fossils, Mood Pieces, and South Central Thynk Tank gave Fat Jack the perfect forum to display his knack for atmospheric hip-hop. The mystical combination of Abstract Rude on the mic and Fat Jack manning the boards is as impeccable a grouping as there is in rap. After another pair of soulful Fat Jack beats were utilized by Medusa for her Do It the Way You Feel It EP, the time came for Fat Jack to step to the forefront. In 1999 he released his own album titled Cater to the Deejay, which featured Fat Jack's work with in upwards of 27 various emcees from the L.A. underground. While the album produced no hits, it stands as a historical document that proves the advanced capabilities of the Left Coast movement. In 2000 Fat Jack reemerged backing an album by P.E.A.C.E. that expressed a newfound interest in Southern bounce rhythms. Fat Jack continues to work with Abstract Rude as evidenced by the release of P.A.I.N.T. in 2001 and he has also built a strong link with AWOL 1.
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