Jackpot US Vinyl & CDs

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: 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.