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LP
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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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JPR 098LP
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"All analog process from the original master tapes. Cut by Kevin Gray. Long out of print 1965 Mono release. Featuring the legendary The Mar-Keys' horn section. Includes the hit single 'Soul Dressing.' Limited clear vinyl pressing."
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JPR 087LP
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"1970 seminal second album by The Meters. Featuring the hit track 'Look-Ka Py Py.' Sourced from the original 1970 analog master tapes. Cut by Kevin Gray of Cohearant Audio. Limited color vinyl pressing."
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JPR 088LP
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"Third album from The Meters, originally released in 1970. Features the hits 'Chicken Strut,' 'Hand Clapping Song,' and more. A classic and heavily sampled record. Sourced from the original 1970 analog master tapes. Cut by Kevin Gray of Cohearant Audio. Limited color vinyl pressing."
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JPR 086LP
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"Debut 1969 album by New Orleans funk legends The Meters. Sourced From the original 1969 analog master tapes. Cut by Kevin Gray of Cohearant Audio. Features the hit song 'Cissy Strut.' Limited color vinyl pressing."
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JPR 102LP
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"Moustache could have only happened in Portland, Oregon. This young group of music lovers, trying to recreate that dangerous feeling that they got the first time they stuck their heads through the doors of that all ages punk rock show. You can't fake this music. They were smart and had a plan. But Portland thought they were taking the piss. And the squares didn't understand. This wasn't a goddamn joke! If Moustache would have come out of New York or Chicago, they would have been welcomed like royalty. But unfortunately for them, Moustache could have only happened in Portland, Oregon." --Jerry A (Poison Idea)
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JPR 092LP
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"Most of us likely missed Mudhoney's Five Dollar Bob's Mock Cooter Stew when it first cratered here on Earth in late 1993, but we can ALL learn from our previous mistakes RIGHT NOW! Out of print in any physical format for 30 years, here is their reprise mini-LP for all to devour in real-time and roll in its naked glory. Initially recorded by the band as an offering for their fans to devour while they were between full-length albums, the majority of Five Dollar was recorded in one short, inspired burst on August 1, 1993, between the hours of 9:30 and 10:15 PM (with friend and fastback Kur(d)t Bloch egging them on from the production booth). They smashed this out in just 45 minutes. It might be the band at their most 'Stooge-esque' since there is no flowery imagery; nothing to misinterpret; just in-your-face blunt despair (in that department, Black Flag's Damaged LP comes to mind, especially in Mudhoney's gleefully punishing highlight: 'No Song III'). Within two seconds of any of these songs hitting your mind (maybe even within one second), you knew it could only be Mudhoney. You can instantly recognize it, because they truly own it/you/the universe."
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JPR 103LP
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"Only whispered about by collectors, Sidewalk's sole LP from 1976 was privately issued in a 100-copy run that sellers currently ask towards $10,000 for. Working directly with members of the band, Jackpot Records has lovingly restored the original master tapes to bring this record to private press fans for the first time. Sidewalk's sound existed somewhere between Steely Dan's relentless jazz-prog shredding, the outdoor festival chug of Chicago and the technical prowess of YES if they backed up a lost '70s AOR songwriter. At the height of FM Radio rock, Sidewalk combined high-level chops with innovative chord progressions and advanced studio production to create a serious contender in the Cal-Jam festival era. But they tragically disbanded after pressing up this sole LP as the only document of their existence. This LP is pressed on high-quality vinyl and includes original artwork with liner notes written by Doane Perry of Jethro Tull."
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JPR 104LP
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"The '80s and '90s was an innovative and exciting time for pinball as the music and playfields evolved to incorporate the electronic innovations rising from the reign of the video game and computer industry. A time when music moved from the background to the forefront of game play becoming an integral element of the feel and kinetic nature of pinball where no two games will ever be exact. These collections of original electronic music from classic BallyTM/WilliamsTM pinball tables feature songs from many of the most popular games of this era. The pinball industry exploded during the pandemic with new companies and games entering the market. Making Pinball the new hot throwback resurgence with barcades, tournaments and arcade museums opening across the globe. Red transparent vinyl."
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JPR 105LP
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"The '80s and '90s was an innovative and exciting time for pinball as the music and playfields evolved to incorporate the electronic innovations rising from the reign of the video game and computer industry. A time when music moved from the background to the forefront of game play becoming an integral element of the feel and kinetic nature of pinball where no two games will ever be exact. These collections of original electronic music from classic BallyTM/WilliamsTM pinball tables feature songs from many of the most popular games of this era. The pinball industry exploded during the pandemic with new companies and games entering the market. Making Pinball the new hot throwback resurgence with barcades, tournaments and arcade museums opening across the globe. Blue transparent vinyl."
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JPR 061LP
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"Exotic Moog is a much sought after title in our Martin Denny reissue series. Great music for synth, exotica, experimental, '60s rock and psych hunters. Classic black vinyl."
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JPR 068X-LP
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"The Dead Boys debut studio album, Young, Loud and Snotty, was recorded and released in 1977 and quickly became one of the definitive US punk rock albums! Sourced from the original master tapes. Pressed at RTI for Maximum Fidelity. Rolling Stone -- Best Top 10 Punk Albums of all time. Black vinyl."
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JPR 055COL-LP
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"Not only the greatest Poison Idea record, but the greatest punk album of all time! Formed in Portland, OR in 1980, Poison Idea's debut record features 13 songs in 13 minutes. Poison Idea were one of the first hardcore bands to inspire artists across multiple genre lines. On limited edition white vinyl w/ sticker and inserts."
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JPR 042COL-LP
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Blue vinyl. "Ken Kesey's ultra rare 1966 studio recording of the Acid Test with The Grateful Dead. Legendary documentation of the 1965-66 Bay Area Acid Test scene from 14 hours of the actual trip (recorded in a studio). Lots of amazing mind games and word play with Ken Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Originally released in March 1966." Originally released in 1966.
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JPR 093LP
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"In the middle of the wonderful sludge that was coming out of Seattle in the late '80s/early '90s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more... dare we say... British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, Dayglo. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On Dayglo, inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through ten songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves--ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout. First reissue of Love Battery's 1992 debut Sub Pop album. Remastered by Jack Endino from the original masters. Includes liner notes with photos, lyrics and more. Pressed on blue sky opaque vinyl."
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