Review: Jackpot US reissue the 1967 Impulse! standout and instrumental masterpiece from Mel Brown, Chicken Fat. Initially working as a guitar player for such greats as Sonny Boy Williamson & Etta James, Impulse! eventually offered Mel Brown the chance to record his own material. Recorded in 1967 in Hollywood, CA, Brown amassed a group of session musicians who had previously 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 sessions reflect the Sunset Strip and the energy of late 60s Los Angeles so accurately that you can almost hear the go-go boots hit the floor.
Review: Sourced from the original master tapes and out of print since the mid-1960s, almost as soon as it was released in 1961, Martin Denny's superb Exotic Percussion now returns to vinyl through Jackpot Records. The album is a wonderful window into the ambitious and futuristic production of Denny with xylophones, chimes, and traditional jazz instruments blended with unusual sounds like boo bas, shamisens, Manga harp, and Burmese gongs, all of which create a beguiling sound and wild journey, from the fast-paced 'Cumana' to the smooth 'Moonlight On The Ganges.' The standout track here has long been 'Misirlou' which gained fame through Dick Dale and Pulp Fiction.
Review: Bill Evans and Jim Hall's Undercurrent is a timeless coming together of two greats that showcases the sublime synergy between piano and guitar. Released in 1962, the album exemplifies understated elegance and musical intimacy. Evans' delicate piano melodies intertwine seamlessly with Hall's lyrical guitar lines, creating a captivating atmosphere of introspection and emotional depth. Tracks like 'My Funny Valentine' and 'I Hear a Rhapsody' epitomize the duo's unparalleled chemistry, while their improvisational prowess shines on every note. Undercurrent then stands as a testament to Evans and Hall's collaborative brilliance, leaving an indelible mark on the landscape of jazz music with its timeless beauty and profound musical expression.
Review: Following on from their 1980 debut full-length No Questions Asked, the very next year would see Los Angeles based punk legends The Flesh Eaters unveil what many a fan considers to be, not only their magnum opus but one of the finest punk experiments ever contributed to the scene. A Minute To Pray, A Second To Die purposefully eschewed the breakneck pace of the expanding hardcore scene to channel outsider influences from the likes of swampy, Bayou-inflected roots rock to spasmodic jazz dirges to blues-laden malevolence. With depraved B-movie horror tales of violence and religious scandal; ultimately weaving a lyrical tapestry of the underbelly of LA, punk poet prophet Chris Desjardins immortalised himself as a commanding vocal presence with the type of penmanship to hypnotise, disgust and enthral.
Review: Gandalf's 1969 self-titled album stands as a masterpiece of haunting psych-pop, now reissued from the original master tapes. Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur, the album's ethereal vocals and innovative production techniques - including the use of a Binson Echorec - set a mesmerising tone. With sitars, vibes, B3 organs, and harpsichord layered over minor guitar chords and bass drones, each track unfolds like a vivid journey through sonic landscapes. Released on clear vinyl and cut by Kevin Gray, this reissue invites listeners into a richly textured experience best enjoyed with eyes closed and the music turned up. Gandalf's album is a shinning example of timeless craftsmanship in psychedelic music, beckoning both old fans and new listeners alike to immerse themselves in its beauty and depth. This version comes on clear vinyl.
Review: A key component in modern Turkish music since the '70s, Mustafa would have gone under the radar if it wasn't for break diggers. While he's still active to this day, Genclik Lle Elle is largely cited as his creative zenith. Recorded in Istanbul, 1973, the instrumental album takes the funk template and flings it into experimental, often cosmic pastures. Highlights include the planet-hopping glissandos on "Zeytinyagli", the progressive head-swirling frenzy of "Lorke" and the infectious eastern-fused riff on "Emmioglu". Plus it's on coloured vinyl. Plus it's got a monkey sound engineer on the cover. Plus it's limited. This record has a hell of a lot going for it.
Review: Originally released in 1983 as a B-side, 'Bad Luck' gets a fresh perspective thanks to seasoned producer and musician Eric Kupper, who refines this hidden gem with clean edits that amplify its timeless charm. The vocal edit on Side-1 bursts with energy, blending soulful vocals, funky guitar licks and sweeping disco strings. The arrangement perfectly balances soul, funk and pop influences, creating a groove designed to hook listeners in and remind them of the good disco nights. It's the kind of track that commands attention and keeps feet moving effortlessly. The instrumental edit on Side-2 lets the lush instrumentation take centre stage. With a focus on rhythm and melody, this version highlights the song's finely tuned balance of disco and funk, making it equally suited for dancefloors or late-night listening sessions and the horn section in the chorus really takes flight here.
Review: Now as ever, it's hard to fathom that this mighty collision of psychedelic pop fantasia and fearlessly avant-garde electronic innovation was released nearly fifty years ago - perhaps owing partly to the fact that there was simply nothing remotely like this around in 1968, this record has not dated one iota, and such is the radiance of the songwriting and the intensity of the performances, this stands proud as music transmitted seemingly from another dimension. As melodically bewitching as it is fearless in its dives off the experimental deep end, this is an evergreen piece-de-resistance that set the bar for electronic rock music frighteningly high right from the off.
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