The code of the beat.

Check This Music Out: Showbiz & AG, “Fat Pockets;” Dope Styles


Showbiz, a King of Sampling Style


Wow. When Showbiz & AG dropped “Fat Pockets” in 1992, I hadn’t yet owned an Akai S950! I was still a teenager, I couldn’t get into The Fever (Bronx club) yet. Even still, I used to roll up to the Bronx, at least once EVERY week, just hoping to bump into Show, Fat Joe, AG, anybody form DITC (or even Forest projects and the surrounding area). I used to get my hair cut at this barbershop called Six Corners, on 163rd and Prospect. Indeed, I used to take this looongg ass ride on the 2 train. A lot of times, I rolled up there alone, dolow, without anybody. I didn’t know it at the time, but the relationships that I made then would prove EXTREMELY pivotal to me later on.

So it was within this context that I first heard “Fat Pockets.” The biggest reason I liked this joint—at the time—was because Showbiz was the personification of what I wanted to do: He rhymed AND made beats! I was always a rhymer first, and I looked up to Showbiz because he demonstrated that you could be dope in both art forms. A couple of years after first hearing “Fat Pockets,” I went back and really studied it.

Of particular interest to me was the way in which Showbiz used to isolate the phrases he sampled with drums that seemed to break out. Showbiz’s sampling style was among the first that featured a usage of more off-beat, elongated, and unexpected phrases and sections of source material (recordings).

For educational purposes…

Showbiz & AG – “Fat Pockets”

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About Author

Amir Said (aka Sa’id) is the founder and Editor-in-Chief of BeatTips. A writer, publisher, and beatmaker/rapper from New York, Said is the author of a number of books, including ‘The BeatTips Manual,’ ‘The Art of Sampling,’ ‘Ghetto Brother,’ and ‘The Truth About New York.’ He is also a recording artist with a number of music projects, including his latest album 'The Best of Times.' Follow him on Twitter at: @amirsaid and @BeatTipsManual

  • lol, I hadn’t heard this track in such a long time. Now that I hear it again, you can hear how Show re-used those cowbells again, in the EXACT same way for the Dres-featured track “Bounce Ta This”