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viewing 1 To 25 of 91 items
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LP
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JPR 121LP
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Blue color vinyl. "In 1970, one of the leaders of the musical Mardi Gras Indian Tribes movement, The Wild Magnolias, became the first band to have a commercial recording released as a Mardi Gras Indian group. The band's legendary performances at the New Orleans Jazz & Heritage Festival also helped them launch into the recording of their 1974 debut LP -- the self-titled The Wild Magnolias which is now presented to you here. Easily some of the most fantastic New Orleans funk and soul ever laid down on vinyl. Eight songs that don't let up with its street-beat funk, call-and-response vocals (with lyrics like 'just a few puffs to make you feel all right' leading the charge) and a recording that captures the unhinged mania of so many talented musicians crammed into a studio making a stone-cold classic. With The New Orleans Project as their backing band including Albert Roberts (who played with Allen Toussaint & The Meters), Larry Panna (The Gaters), Snooks Eaglin (Professor Longhair as well as the creator of 15 solo records) and Willie Tee (one of the most influential figures in the New Orleans funk and soul scene who arranged and co-wrote on this LP), the NOP beautifully rides along with the assortment of bottles, tambourines, drums and rattles that the tribe members bring to the air. This LP will turn heads for those who haven't heard it yet, while being a repeat funk classic to those who already have it in their bones."
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JPR 119LP
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"Regarded as one of the greatest blues albums of all time. Cut by Kevin Gray at Cohearent Audio. Recorded in 1969, this album, as McDowell's titular quote suggests, is not just a collection of songs but a significant piece of musical history. It's a masterclass, a confessional, a musical statement, and a history lesson all in one. Despite its seemingly simple nature, it's a profound work. Regarded as one of the greatest blues albums of all time, I Do Not Play No Rock 'N' Roll is a must-listen, a testament to one of the greatest musical forces that has directly influenced The Rolling Stones, Aerosmith, The Black Keys, and Bonnie Raitt (to whom McDowell taught slide guitar). In 1959, McDowell's talent was first captured by folklore musicologist Alan Lomax, and from there, he quickly rose to stardom with his live recordings and festival appearances across the US and UK. This album is a testament to McDowell's unique voice and guitar style, dominating the air and filling it with raw power and authenticity."
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JPR 117LP
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Limited orange marble vinyl edition; Originally released in 1961; All Analog Process (AAA); From the original master tapes; cut by Kevin Gray. "A smash of jazz and rock, Second Time Around spawned two top 20 R&B singles but more importantly, landed Etta James on the Pop charts with three separate singles: the devastating lead-off track 'Don't Cry Baby,' the slow burn of 'Fool That I Am' and the swing from the rafters/twist until you hurt of 'Seven Day Fool'. The beauty of this album is in the contradiction of these two stylistic worlds: heart-on-your-sleeve ballads sitting next to all-out rockers. Like her debut, this follow-up record was produced by Phil and Leonard Chess, who added orchestral backing to create a sound that was as spectacular as the best of Frank Sinatra or Ray Charles. It's that unique combination of James' voice that can go from heavenly angel to devilish rasp with the same song that makes her not only a sonic icon but also one of the greatest vocal interpreters of all time. Listening to this early glimpse into Etta's power and style, you can hear a legend in the making and why, time and time again, Etta James was not only one of the most celebrated singers of all time, but the deserved winner of three Grammys and an inductee into three separate Music Hall of Fames: (Rock and Roll, Grammy, and Blues). Now that's a legend. So, dig in! You can't lose."
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JPR 051X-LP
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"1968 debut album from the king of the psychedelic bayou -- the hypnotic, mystical and powerful sound of the swamp coming to life. As he became Dr. John (real name Mac Rebennack), it was his LA session work with musicians like Sonny and Cher, Canned Heat, and Zappa that allowed him to start conjuring up his visions of guitar psych-pop to walk alongside his authentic New Orleans upbringing. While Gris Gris contains moments that make it a type stamped symbol of its era, it might have well been made in outer space. Recorded in its own psychic and stylistic vacuum, the album borrows as heavily from the New Orleans' musical culture in which he grew up as it does the looming continuous pulse of war, heavy drugs, and the end of the free love/hippie movement. The album was taken under the wing of a small percentage of the 'underground' upon its release in 1968 and did not find a true following for years. Original 1968 Mono Mix. Mastered and cut by Kevin Gray at Cohearent Audio. Sourced from the original master tapes."
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3LP
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JPR 118LP
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"Jackpot Records presents the release of the Complete James Brown Christmas Collection, a three-LP set featuring music from 1966-1970. You absolutely don't need to be a holiday music lover to fall in love with the music spilling out over these James Brown records, as most of the tracks are original compositions that hold their own against many of the grooves that Brown was recording during this high-water mark of his career. With bonus tracks galore and fantastic liner notes by Alan Leeds (former James Brown publicist and tour manager), and mastered/cut by legendary mastering engineer Kevin Gray, this is a must-have -- even if you have to give yourself a well-earned, early musical present this year!"
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JPR 120CS
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"Originally released in Turkey 1973, Özkent's masterpiece creation of an all-instrumental Turkish psychedelic funk album filled with classic beats and breaks still inspires long-time fans and first-time listeners. The funky rhythms, hypnotic percussions, and heavy break beats makes this a holy grail amongst DJ's and music fans alike. The original concept was futuristic and eluded categorization: traditional folk songs mixed with rock, jazz, blues, funk and psych, reconstructed for the new 'hip' generation. The album was recorded live in just one day with some of the best studio musicians in Turkey. Lacking a multi-channel recording deck, Özkent used microphone techniques to emulate a total stereo effect and capture the heavy psychedelic effects and close-miked beat breaks. Özkent created his own unique guitar sound by adding extra frets and a clutch of effect pedals in order to create quarter notes and emulate Turkish traditional scales. Mustafa Özkent has since made arrangements for hundreds of other artists in Turkey, but this unique album documents his most revered work -- and the world is still just discovering this gem. The fact that only a handful of copies from the original pressing are known to still exist partly explains why, making this reissue a welcome addition to any record collection."
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JPR 116LP
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"Sea glass color vinyl. Now joining the Jackpot Record's ever-expanding collection of Martin Denny re-issues is the hypnotic 'visual sound' of Exotic Percussion, which has not been on vinyl since its original release in 1961. His production on Exotic Percussion is ambitious, adventurous, and fascinatingly futuristic, especially when a tumbler with ice was still the preferred way to let loose. Xylophones and chimes swim from ear to ear; traditional jazz instrumentation collides with such musical oddities as boo bas, shamisens, Manga harp, and Burmese gongs. As always, the choice of compositions on a Martin Denny record is a bizarre yet exciting spin around the globe, but this one is even weirder than usual. From the faster-than-light of 'Cumana' to the luscious groove of 'Moonlight On The Ganges' (made famous by Frank Sinatra and a track that is still being played on a loop at Disneyland's Jungle Cruise attraction), it's a whiplash of a ride. But the stand-out on the record is the combo of 'Misirlou' (which would be made famous a few years later by Dick Dale and even decades later with its appearance in Pulp Fiction) So join the conga line and head out into the street as Martin Denny once again creates a world we yearn to return to and an album we can always revisit."
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JPR 114LP
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"Dark lava color vinyl. There's a reason why Martin Denny remains a cultural touchstone -- his records are as earthly as they are from outer space. Forbidden Island was Denny's third record, recorded after a nine-month residency in Hawaii. This era finds Denny just on the cusp of being a household name, a period where his records would shortly become certified Gold. Forbidden Island is a solidification of Denny being the King of the Exotica sound, where his recordings could illuminate just enough darkness across the Tiki Bar to let a few listeners slowly dance the night away. These reissues also include the original iconic album artwork featuring model/actor Sandy Warner (which was often the gateway into these albums before we ever heard the music in these grooves)."
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JPR 115LP
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"Green color vinyl. Long before Martin Denny started heading into outer space with his Moog work, he was keeping listeners floating slightly above the ground with the sounds of the earth -- and The Enchanted Sea is one of his most grounded and beautiful works. Unlike many of his other exotica records (which are filled with the sounds of the jungle, its wildlife, and the smell of tiki bar smoke) this one has the feeling of a tumbler full of ice, walking barefoot on a sandy beach in the twilight, while breathing in the salt air. There are early glimpses here of where he was starting to head with psychedelic-treated pianos, ethereal female vocals, and abstract orchestration beginning to find their way into the listener's ears. It's an album that seems less comical than some of his earlier work, with an allure more from the heart, without the heartbreak (even though the occasional tinge of wistfulness surrounds it)."
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JPR 109LP
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"If you're as obsessed with unfairly unheralded bands as Jackpot Records are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot announces Gandalf's 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of The Left Banke, Kaleidoscope, The Millennium, and The Zombies, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond's 'Sweet Caroline' and Van Morrison's 'Brown Eyed Girl'), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band's PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you've got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: 'Put the needle in the groove, sit back, and take the trip with GANDALF.' Enough said."
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JPR 108LP
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"SRC was born out of a smashing up of two of Detroit's brightest bands, The Fugitives and The Chosen Few (which also featured future Stooges Ron Asheton). The new band gained a fanatic local following, eventually capturing the attention of Capitol Records. The band shifts effortlessly from mountaintop introspection to wild distorted crescendos creating one of the most melodically heavy LPs ever made. An over-the-top psychedelic fuzz guitar masterpiece. Upon its release in the U.S in 1968, the LP created fan and critical excitement. Still, it was in the U.K where the cultdom made its most significant impact, with John Peel playing the hell out of it on his radio show and even Genesis' Peter Gabriel claiming that this first SRC album was one of his favorites, saying he 'wore the record out' (and you can absolutely hear SRC's melodies buried inside Gabriel's musical DNA!). Cut from the analog master tapes by Kevin Gray. Limited edition of 1500."
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JPR 111LP
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"This rare live document of Wall Of Voodoo, available for the first time on vinyl, shows a band so wired up and finely tuned, that they could sonically hypnotize and lay waste to a live audience. Recorded live on 11/22/1979 at the Barn, University of California, Riverside, this full-length is one of the best-recorded performance documentations of the entire L.A. post-punk scene. Remastered by the original live recording engineer Jim Hill. This live show also showcased two exclusive compositions 'End Of An Era' and 'Invisible Man' that have not appeared on any other record. 2000 copies. Black ice color vinyl."
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JPR 110LP
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"Originally formed to provide film scores for sci-fi and horror movies, Wall of Voodoo shot to fame in 1983 with their hit single 'Mexican Radio' and its accompanying video. Earlier in 1980 they produced this critically acclaimed six-track mini album, featuring the original 1980 artwork, large 24"x24" poster, lyric Insert, and pressed on marble color vinyl. Remastered by Jim Hill, the original studio engineer. Features a cover version of Johnny Cash's 'Ring Of Fire.' 2000 copies."
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LP
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JPR 082LP
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"Originally released in 1968 as an LA studio concept album, this instrumental album is a remarkable fusion of the psychedelic sounds of sitar and mellotron with angular guitar riffs and hard drum breaks. Featuring a lineup of Ry Cooder, Jim Gordon, Mike Deasy, and The Wrecking Crew (Los Angeles' top studio session musicians). The band recorded only this one album and most of the personnel went on to greater achievements. The quintessence of psychedelic rock in its full-blooming 1968ness. Features original cover artwork by Rick Griffin (Grateful Dead, Jimi Hendrix, Neil Young). Pressed on colored vinyl. Limited edition of 2000 copies."
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JPR 112LP
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"Jackpot Records presents this re-reissue of what many call arguably the greatest album of the punk rock era: The Flesh Eaters' 1981 punk-noir masterpiece, A Minute To Pray A Second To Die. Once referred to as an all-star roots/voodoo combo, The Flesh Eaters could only have crawled out of the myst of the late L.A. '70s punk scene. Fronted by punk poet/composer Chris D. (Desjardins), the band was a satellite for exquisite collaborators that allowed him to bring the full force of his dark, messed-up lyrical nightmares. Members of X, Wall Of Voodoo, Los Lobos, The Blasters, and The Plugz all hopped into his unmarked car to take a drive with Chris D. Its grabbed-by-the-throat vocals are powerfully buoyed by the tight melodicism emanating from the players on this record (John Doe and DJ Bonebrake from X, Steve Berlin of Los Lobos, Dave Alvin and Bill Bateman of The Blasters). Hell, there's even the perfectly executed John Doe original, 'Cyrano de Berger's Back,' which was re-recorded by X in 1987. The creators of this record made a pulp novel for your ears with an equal chance to scar your heart. Do not miss out -- this is punk noir at its greatest. Limited edition ruby red vinyl. Includes original inner sleeve design."
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JPR 107LP
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Repressed. "In 1962, legendary jazz pianist Bill Evans collaborated for the first time on record with jazz guitarist Jim Hall to create the landmark album Undercurrent. And even though it is a two-person improvisational affair, it is almost unfathomable that these two giants alone fill up all the grooves on this record. The thoughtful interplay between these two musicians created such a beautiful, lush, and emotional journey that their work influenced many. At the time of this recording, Bill Evans was one of the top jazz pianists (his performance with Miles Davis on Kind Of Blue is still a high-water mark), but he had stopped performing and recording after the death of his peer, bassist Scott LaFaro. Eventually, he was persuaded to return to music, and this was one of the first recordings upon his return. Guitarist Jim Hall -- who had worked with Ella Fitzgerald, Sonny Rollins, and Chico Hamilton -- started his partnership with Evans during this time. Recorded over two sessions in April and May 1962, the two have that beautifully unspoken musical language of give and take; their recordings are refreshingly busy but also incredibly sparse. These two giants understand that intertwining their personalities and harmonic styles could create greatness. This notable re-issue is an all-analog production affair -- AAA Mastered and cut live by audio guru Kevin Gray (Miles Davis, Herbie Hancock, Charles Mingus) -- and it's never sounded better."
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JPR 097LP
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"The 1967 Impulse Records legendary funk/soul instrumental masterpiece album Chicken Fat. Sourced from the original analog master tapes by Kevin Grey. All Analog Process (AAA). Initially working as a guitar player for such greats as Sonny Boy Williamson and Etta James, Impulse Records eventually offered Mel Brown the chance to record his own material. Recorded in 1967 in Hollywood, CA, for the Impulse record label, Brown amassed a group of session musicians who had played with Charles Mingus, Marvin Gaye, and Dizzy Gillespie. Much of the album was arranged by Oliver Nelson, who worked with Thelonious Monk, Sonny Rollins, Jimmy Smith, and more. His touch is felt all over the record and helps solidify the journey. These recording sessions also reflected the Sunset Strip and the energy of late '60s Los Angeles so incredibly, you can almost hear the go-go boots hit the floor to dance til they drop."
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JPR 113LP
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"Highly sought-after second album from the most influential modern surf band. Originally released in 1995 on Estrus! Records, this instrumental classic sold out immediately. Satan's Pilgrims are known for their '60s stylized surf soul sound with diverse, imaginative, and melodic compositions."
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JPR 091LP
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"In 1968, The Electric Prunes collaborated with classically-trained musician David Axelrod to create Mass in F Minor, a religious-based rock opera. Even though the album is a head-scratcher side by side with their previous records, this has become one of the era's most bizarre and hypnotic releases. Sung in Latin with the band hanging onto Axelrod's ambitious arrangements; you've never heard anything like it. It created enough of a cultural mark that the lead track 'Kyrie Eleison' was even used in the movie that defined the late '60s generation, Easy Rider."
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JPR 089LP
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"Formed in 1966, The Electric Prunes had a novel approach to being a band: deciding to be a recording unit rather than a live performance band. They discovered their signature sound -- reverb-drenched, beautifully chaotic garage pop -- and released one of the most fantastic, fuzzed-out singles of all time, 'I Had Too Much To Dream Last Night.' Guitar effects drip and splatter throughout (the band had landed an endorsement deal with Vox, who were the leaders in wild effects pedals at that time), and they laid into the material with brute force (and the occasional gentle touch)."
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JPR 090LP
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"Due to their successful debut, the band's producer was in demand, leaving little time to devote to the Prunes. The band took full advantage of the adults not being in the room and created an incredible follow-up of original material on 1968's Underground. Here is where the band really leaned heavily into their knack for challenging pop. This album came to define what later gravediggers of the garage genre came to devour: Iggy Pop, The Ramones, and Patti Smith all took a riff here; an attitude there."
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JPR 106LP
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"When the '80s U.S. garage/psych explosion started, one record in that genre towered above all others -- The Miracle Workers' 1985 debut LP Inside Out. Initially formed in 1982, the classic line-up on this debut was a five-headed, five-star beast and one of the most ferocious live bands of the era. With four songwriters, they rarely had to rely on the crutch of cover versions that many of their paisley contemporaries had to lean on. No lazy Pebbles compilation wanna-bees or drippy long-form psych yawns here; just 13 songs that are up there in the pantheon of garage rock (and really any other rock genre)."
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JPR 099LP
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"All analog process from the original master tapes. Cut by Kevin Gray. Long out of print 1966 release. 1966s And Now! is the first to feature long-term bassist Duck Dunn, who helps create a nightclub feel that alternates between some of their most aggressive recordings and most sultry."
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JPR 101LP
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"All analog process from the original master tapes. Cut by Kevin Gray. Doin' Our Thing's first U.S. vinyl reissue since its original 1968 release date. Doin' Our Thing is not only Booker T. & The M.G.'s first self-produced album, but offers their most varied selection of songs."
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JPR 100LP
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"All analog process from the original master tapes. Cut by Kevin Gray. 1967s Hip Hug-Her is one of Booker T. & The M.G.'s most beloved records. Spawning two significant hits, their cover of the Young Rascals 'Groovin' and the title track 'Hip Hug-Her'"
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