Fats was born in Frankfurt, West Germany to Charlene P. Warren and Fredrick Hubbard Sr. Legend has it, he used to DJ his parents' get-togethers before he was even able to talk. He always had a DEEP love for music of all forms. As a child, Fats would often watch music videos with dreams of one day becoming one of the premiere musicians he idolized. Some of those names include: Stevie Wonder, Quincy Jones, Donny Hathaway and the Jeff Lober. "Yeah... we grew up on a lot of that good old music... Gap Band, Dazz, Stylistics, O'Jays, Slave, Rose Royce, Anita... ummmm.... lots and lots of Stevie Wonder. My mom loves him.... anyway, I think you can tell when you REALLY LISTEN to my music, that I'm not some one who just picked it up as a hobby. Like... I REALLY KNOW MY SHIT," says the, now, 28 year old artist. "No disrespect to those who did 'just' pick it up once they got out of high school or whatever, but I pride myself on having the knowledge of what it takes to make a good song... not only that, a solid album." During his transition into manhood, Fats began to take his musical talents serious and set out to become a songwriter, arranger, producer and rapper. In 2003, Fats became a co-CEO of "Camp Life Entertainment" alongside his partners "Killa Ru, Byza, Blu and Smoove" who are collectively known as the D.U.B. Camp. They have a relatively long discography consisting of both group and solo projects which Fats was responsible for not only producing the majority of, but being listed as the executive producer of ALL of the releases on this label. The debut album from the D.U.B. Camp, "Da Camp Is Here," was released on September 12, 2005 to critical acclaim and praise both locally and regionally. Fats did the majority of production on this project and wrote as well. His melodic yet aggressive style of production makes him a stand out talent that has a recognizably different sound. "I don't really know how to describe the shit I be doing... I just like good music man. There's a lot of dope producers out there that will make the biggest hit of the decade but can't complete a whole album. I like to think that when you see that "CL" on it, you EXPECT excellence. I try and make sure that everything that I do on the album is living up to the expectations of the core audience we've been catering to since we started." In 2006, the D.U.B. Camp returned to their initial approach for respect: mixtapes. The third installment of their "Dub-B Mixtape Series" was called "Thrill of Victory.." Fats had some of the key standout performances on this project. Like his verse on the opening song "Get 'Em Daddy" and his 6 minute freestyle which he changes the beat on several times and raps non-stop throughout. Also, he produced all but one of the original songs that appeared on the project. Fats' solo debut was a set of songs that he says "kind of just happened." Released March 10, 2010, "The Network" became an instant classic on the underground music scene in his hometown of Romulus, Michigan and stretched regionally from Detroit to Cleveland. Fueled by the lead single "Get Ya Money Up," "The Network" identified Fats as the total package of an artist. Fats has performed on nearly every stage known in Michigan. Not to mention, he was the first artist EVER, from Michigan, to have a song that include over 30 artists and ran over 12 minutes long. "That's when I think people started to take me seriously in terms of producing. If you listen to the remix of 'Get Ya Money Up,' about halfway through the song, the beat starts changing. You start hearing me adding shit as the song goes on. Bringing out certain cadences.... accents in the different instruments. The drums start changing. You got all kinds of breakdowns and shit going on in there... when I was making it, I was thinking 'how the hell can I make it so that people don't get bored listening to a loop for over 10 minutes.' And by the time you get to MY verse, it doesn't eve sound like the same song anymore." While still pushing the envelope in what is "socially acceptable" in hip hop Fats looks to expand the brand of Camp Life Entertainment by taking on the role of producing for more RnB artists as well as Pop music. Having worked with a long list of artist (Royal Flush of Purple Ribbon, Vina Mills, Smoke E. Digglera, K.I.D.D. the producer, Killumall Productions, KhidaMan, City Boy, Lew Ferringo etc.) Fats is constantly looking for new ways to expand his sound, whether it be writing, rapping, producing and now even "crooning." It's plain to see that this is not, and never has been just a "hobby" to Fats. "I really know my shit man.... I can't say that enough... I am one of the FEW people in this industry who can walk into a studio and finish an ENTIRE ALBUM ALONE. Don't need to call anyone for beats. No additional writing/ arranging needed. You don't even have to record it for me... And that's not to sound cocky or anything. I just feel like over the last few years, the art has been degraded and diluted greatly on account of people being able to pick up and go. The equipment that we even use now a days is so damn user-friendly, you don't have to REALLY KNOW how to play an instrument to make a hit. You don't have to know how to sing to be number one. You don't have to really do shit but convince the public that you're interesting. I'm one of those artist/ rappers where you can put me in the park with no beat... I can rap. Put me in the lab with no producer, I'll make the beat.... what happened to the REAL artistry? You know?" When asked what he wanted to be remembered for, Fats said "I don't really care if 'I' am remembered. I know that I will die someday. But this music will be here long after 'my' shelf life has expired. I just want the music that I've done to be celebrated. It's not even about 'me...'"

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