Analogue Productions US Schallplatten & CDs

Review: From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982. The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive - the details make a difference, as do the pastoral acoustics of the closing 'Seagull' - reducing their rock 'n' roll to a strong, heavy crunch; compare 'Ready For Love,' a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45rpm.

Review: Analogue Productions' UHQR release of the Bill Evans Trio's Sunday at the Village Vanguard is a pinnacle in high-quality vinyl. Limited to 5,000 copies, this 200-gram 45 RPM 2LP set, mastered by Kevin Gray at Cohearent Audio from the original analogue tapes, offers an unparalleled listening experience. The set includes an eight-page booklet with liner notes by jazz critic Bob Blumenthal, enhancing its collectible value. Regarded as one of the greatest live jazz recordings, the album captures the remarkable June 25, 1961, performance of Bill Evans, Scott LaFaro, and Paul Motian at the Village Vanguard. The trio's exceptional musicianship and improvisational prowess are evident throughout, with seamless interplay and innovative approaches to jazz standards and original compositions. The UHQR Clarity Vinyl pressing at Quality Record Pressings ensures the purest sound quality, with improved dynamics, detail, and tonal accuracy. Standout tracks like 'Gloria's Step' and 'Alice in Wonderland' showcase Evans' delicate touch, LaFaro's inventive bass lines, and the trio's extraordinary chemistry. This release not only celebrates exceptional music but also offers an intimate, high-fidelity listening experience.

Review: Bill Evans' Waltz for Debby, recorded live at the Village Vanguard in 1962, epitomizes jazz's intimate and expressive qualities. As a companion piece to Sunday at the Village Vanguard, this album features Evans' trio in a nuanced, emotional performance that showcases his distinctive approach to jazz piano. The Analogue Productions reissue on 200-gram Clarity Vinyl, pressed at 45 RPM, is crafted to offer an exceptional listening experience. Notable tracks such as 'Waltz for Debby,' along with classics like 'My Foolish Heart' and 'Detour Ahead,' highlight Evans' introspective improvisations and lyrical style. The live recording's atmosphere, with the audience's subtle presence, adds to the album's genuine appeal. This special pressing and full edition is one of the most well produced reissues we have seen in some time. The care, love and hours gone into this is immeasurable .

Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.

Review: What is there left to say about this landmark recording, which captures the heart and soul of pre-revolutionary Cuban music, bringing together veteran musicians whose artistry might have otherwise been lost to time. The result is a stunning blend of son cubano, bolero, danzon and jazz, each track infused with intricate rhythms and heartfelt performances. Flamenco-tinged vocals soar over interwoven instrumentalsieach simple in isolation but collectively forming a rich, textured soundscape. The interplay between piano, guitar and percussion is electrifying, balancing smooth elegance with raw passion. From the hypnotic pulse of 'Chan Chan' to the fiery energy of 'El Cuarto de Tula' and the aching beauty of 'Veinte ANos', the music effortlessly bridges past and present. Moments of exuberance give way to quiet reflection, showcasing the full emotional range of these master musicians. The sharp piano work, the percussive drive and the warmth of the vocal harmonies create an irresistible urge to dance. Even in its most hurried passages, there's an undeniable charmievery note brimming with life. Now presented on a 4xLP gatefold edition, pressed on 180-gram audiophile vinyl and cut at 45 RPM for maximum fidelity, this reissue elevates an already timeless collection. The past lingers in every note, proving that old songs truly do stir old feelings.

Review: On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with albeit some familiar patterns emerging, wrote Rolling Stone's John Milward; indulging a trend-bucking golden-oldie route, iridescing a rich luster of the classic rock old-school. This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, the label turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings and RTI, the album comes housed in tip-on old style gatefold double pocket jackets with film lamination.

Review: Famously, John Coltrane recorded the music on Coltrane Plays The Blues during the sessions for the more celebrated and ground-breaking My Favourite Things, with his former label Atlantic - who had paid for the sessions - initially releasing the album against his wishes. In many ways it's great they did, because it remains one of jazz's truly great sets - albeit one that at the time was overshadowed by the saxophonist's other work of the 1960s. It's breezy, emotive, occasionally smoky and - as you'd expect from the title - effortlessly bluesy, with Coltrane improvising superb sax solos atop a bed of bass (played by Steve Davis), drums (Elvin Jones) and piano (McCoy Tyner). This reissue is a "hybrid CD", containing both regular and 'super audio' versions. For those with access to the latter technology, the album has never sounded better.

Review: The prolific and influential John Coltrane comitted many a seminal recording to vinyl across his career. His 1961 work My Favourite Things is one such album and it now gets a special new pressing as part of the 75th anniversary celebrations of Atlantic Records. The landmark album came from the same sessions as Coltrane Plays The Blues (1962) and Coltrane's Sound (1964), but marked something of a shift in his career. His playing is exploratory and innovative, unforced and naturally stylistic across gems like 'Everytime We Say Goodbye' and more.

Review: Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind Of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers - who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated, replicating the alternate non-Bill Evans lineup featured on 'Freddie The Freeloader' on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.

Review: Here it is: the all-time great album that popularised jazz for the masses, and which carries the genre's torch to this day. Most works by Coltrane serve as good introductions to jazz’s endemic practice of through-composition, but A Love Supreme (1964, Impulse!) is arguably among his best works to come in four suites; to quarter a technically singular piece. Widely recognised as the moment at which John all-aboarded the Soul ‘Trane, the album marked the apogee of a wave of popular analyses of US jazz records as holding special spiritual significance. This early vaunting may have fed into its popularity into the present day; but we cannot gloss over the fact that such elevations in status do not tend to come without supreme merit, and more level-headed takes on the LP simply interpret it as one of the most impeccably performed, precisely timed jazz records of its day. Remastered for the esteemed Analogue Productions series, its everlasting flame is rekindled.

Review: Basie Jam is a stellar showcase of Count Basie's enduring prowess in jazz. This 1975 release by Pablo Records, produced by Norman Granz, features an impressive lineup including J.J. Johnson on trombone, Zoot Sims on tenor sax, and Ray Brown on bass. The album exudes a vibrant swing style, with meticulous sound reproduction that places it among the finest recordings of its era. The mix captures a lifelike presence, with instruments positioned distinctly on the soundstage. The gentle taps of Louie Bellson's cymbals, Irving Ashby's warm guitar tones, and the palpable breath in brass instruments add a marvelous sense of realism. Now, reissued for future generations to enjoy and discover once again. This legendary performer is perfectly captured by this recording.

Review: This 1977 album marked a sublime chapter in the trio's career, showing their unparalleled vocal harmonies and masterful musicianship. Often hailed as their most accessible album, it seamlessly blends folk-rock sensibilities with heartfelt lyricism. Reissued on pristine 180-gram vinyl, the warmth of this record shines through every groove, providing a listening experience as timeless as the music itself. Opening with 'Shadow Captain', the outfit sets the tone with rich vocal layers and Russ Kunkel's understated yet captivating percussion. Tracks like 'See The Changes' and 'Carried Away' exemplify their ability to create beauty through simplicity, with Nash's songwriting and Crosby's harmonies reaching extraordinary heights. The album's emotional centerpiece, 'Cathedral', is a profound and reflective masterpiece, echoing the introspective brilliance of their earlier work while standing out as one of Nash's crowning achievements. Songs like 'Anything At All' and 'Just A Song Before I Go' further underscore the trio's knack for blending authenticity with melodic perfection. Even with moments like 'Fair Game' and 'I Give You Give Blind' slightly veering toward experimentation, the album remains cohesive and compelling. From the poignant storytelling to the impeccable sound quality of this vinyl reissue it endures as an essential in the folk-rock canon.

Review: As part of Atlantic Records' 75th Anniversary celebration, the label has launched an extensive year-long vinyl series featuring 90 releases spanning the entire history of the company, from its earliest days until the present. Of these emerges this latest reissue of Crosby, Stills & Nash's self-titled debut album, first released on the label all the way back in 1969. The album features some of CSN's most well known and iconic songs; 'Suite: Judy Blue Eyes,' 'Marrakesh Express,' 'Guinnevere,' 'Wooden Ships,' 'Helplessly Hoping' and 'Long Time Gone.' This album saw a shift in sound to what was popular at the time - blues based rock - opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the '70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record.

Review: As you can guess from the title, this is a follow up to Kind of Blue, one of the most famous jazz albums of all time. The iconic 1959 recordings radiate their own vibe while showcasing Davis's transformative approach to jazz. The opener impresses with elegant trumpet lines and a meticulous rhythm section that is a fine showcase of restraint that grows from delicate nuances to fluid improvisation. As the album unfolds, Davis's intuitive synergy with his bandmates shines and intricate complexities turn into accessible melodies. The hauntingly beautiful 'Blue in Green' stands out for its depth and overall the record captures a pivotal moment in Davis's evolution.

Review: Iconic recordings from 1959 blessed with s a fresh, vibrant energy. The opener, with its elegant trumpet lines and meticulous rhythm section, feels like a masterclass in restraintibuilding from delicate intricacies to full-blown, fluid improvisation. As the album progresses, each track shows Davis's intuitive connection with his bandmates, effortlessly weaving complexity into accessible melodies. The slow-burning 'Blue in Green' stands out, with its haunting beauty and rich, emotive depth. Throughout, the album is a showcase of Davis's transformative approach to jazz, fusing cool jazz elements with the raw emotional power that defined his later work. A definitive, timeless piece.

Review: There are various eye watering stats about the many, many million copies of this album that have been pressed and sold. For each one sold there is almost as many different versions of it, too, if you look on Discogs. But all the hype and huff aside, there is a reason it is one of jazz's most famous records. The sultry modal moods, the masterfully melancholic trumpet sounds Davis conjures and the noir, late night vibe are all perfectly realised and universally understood. Without it, music at large, let alone jazz, would sound very different.

Review: Duke Ellington and bassist Ray Brown deliver a riveting performance in this set of duets, evoking echoes of Ellington's earlier collaborations with Jimmy Blanton. The dynamic interplay between piano and bass creates a lively and engaging atmosphere, reminiscent of the groundbreaking work of Blanton in liberating the string bass as a solo instrument. Featuring the four-part 'Fragmented Suite for Piano and Bass' along with five standards, including Ellington-associated tunes like 'Pitter Panther Patter,' the album showcases Brown's creativity and virtuosity on the Blanton model. The music is delightful and often playful, capturing the essence of Ellington's timeless style. Cut from existing metal parts mastered by Doug Sax and pressed at Quality Record Pressings, this reissue offers superior sound quality.

Review: Ella Fitzgerald will forever be a legend in the jazz world thanks to her unparalleled vocal talents and ability to infuse jazz with deep emotion. Released in 1962 and reissued here, Take Love Easy pairs Fitzgerald with the exceptional pianist Bill Evans and together they make for a sophisticated and intimate atmosphere. Featuring a selection of lush ballads and smooth, understated jazz standards, this record highlights Fitzgerald's delicate phrasing and expressive delivery with songs like 'Don't Be That Way' and 'Gee Baby, Ain't I Good To You'.

Review: Ella Fitzgerald, the First Lady of Song, and legendary jazz guitarist Joe Pass reunited for their second duet album, Fitzgerald & Pass... Again, originally released in 1976. This collaboration has become a jazz classic, with Fitzgerald winning the 1977 Grammy Award for Best Jazz Vocal Album for her performance. Fitzgerald's impeccable musicianship shines through, showcasing her unparalleled ability to convey the essence of a lyric. Pass complements her perfectly, displaying his virtuosity and strength as an accompanist. The album features four Duke Ellington classics, reimagined versions of 'Tis Autumn' and 'Tennessee Waltz,' and mesmerising wordless performances of 'Rain' and ''One Note Samba.' This 180-gram reissue by Analogue Productions, cut from existing metal parts mastered by Doug Sax from the original analog master tape and pressed at Quality Record Pressings, ensures optimal sound quality. The album is housed in a single pocket Stoughton Printing tip-on jacket.

Review: Foreigner's 1981 album 4 is a masterclass in soft rock excellence, and its reissue on vinyl reaffirms its status as a classic still. The album, known for its impeccable production and iconic tracks, catches Foreigner at the peak of their powers. From the high-octane opener 'Night Life' to the anthemic 'Juke Box Hero,' the band delivers a blend of powerful rock and emotional balladry that remains timeless. 'Waiting for a Girl Like You' stands out as one of the greatest power ballads ever, with its atmospheric sound and Lou Gramm's silky vocals. 'Urgent,' another highlight, exells with its tight interplay between Mick Jones' guitar and the unforgettable saxophone solo, while 'I'm Gonna Win' and 'Woman in Black' exemplify the band's ability to craft songs full of determination and soul. Each track on 4 feels meticulously crafted, with infectious melodies and hooks that have resonated with audiences for decades. The vinyl reissue brings a warmth and depth to the recording that enhances the listening experience, making still stand out as an iconic rock album that no yacht should be without.

Review: Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic 'Feels Like the First Time' and 'Cold as Ice,' both of which were anchored - like most of Foreigner's songs - by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day. The architect behind Foreigner's extraordinary catalog, Jones has crafted some of rock music's most enduring songs. After starting his own rock band and opening for the Rolling Stones in pubs across South London, his first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan. After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi. Foreigner defined a generation of rock music to people across the globe; now on 180-gram 45 RPM double LP, you can hear Foreigner in all its phenomenal glory.

Review: This release saw Genesis balancing their progressive rock origins with a more radio-friendly sound when it hit in 1983, creating a seamless fusion of complexity and accessibility. Tracks such as 'Mama' - the first single that heralded the album's arrival - bring an eerie edge, with Phil Collins' emotive delivery matched by brooding synths and steady percussion. By contrast, 'That's All' offers a buoyant, piano-led melody that feels both light and intricate, showing the trio's knack for crafting memorable hooks without losing their musical depth. The instrumentation remains sharp and purposeful throughout, highlighting the group's ability to adapt their style while maintaining a sense of innovation.

Review: As part of Atlantic's commemoration of 75 years as a label, the early recordings of Genesis are getting a fresh airing in audiophile-quality repressing. This is the band in its purest form, with Peter Gabriel up front, Phil Collins on the drums and Steve Hackett on guitar, when they were a quintessential prog outfit with a peculiarly English sensibility that's all of its own. Nursery Cryme was originally released in 1971 and it features sprawling epics like 'The Return Of The Giant Hogweed', which is as heavy and grooving as it is meandering, and the extravagant opener 'The Musical Box', excerpts of which remained in the band's live set well into the 80s.

Review: Genesis' A Trick of the Tail, originally released in 1976 and newly reissued on 180-gram vinyl, captures the band's confident transformation following Peter Gabriel's departure. Stepping up as lead vocalist, Phil Collins proved to be a natural fit, bringing a warmth and subtlety that allowed Genesis to thrive as a newly formed quartet. This seventh studio album stands as a progressive rock landmark, showcasing refined, melodic compositions with a softer, more intricate feel than their previous The Lamb Lies Down on Broadway. The album's standout tracks, such as 'Dance on a Volcano' and 'Los Endos', highlight Tony Banks' masterful keyboard work, with compositions that weave atmospheric textures around Collins' dynamic drumming and Mike Rutherford's lively bass lines. 'Entangled' and 'Ripples' offer gentle, haunting melodies that reveal the band's more pastoral, emotionally resonant side, with Steve Hackett's guitar enhancing each song's ethereal quality. A Trick of the Tail redefined Genesis, focusing on intricate arrangements and collaborative songwriting, with Banks taking a leading role. The record's nuanced sound and rich harmonies have cemented its place in progressive rock, and this reissue beautifully preserves the album's lush, complex layers for a new generation of fans with many in agreement that this is one of the best Genesis albums of all time.

Review: In January 1945, trumpeter Dizzy Gillespie laid down 'Be Bop (Dizzy's Fingers)' in New York City, a month prior to pioneering the first modern jazz recordings, 'Groovin' High' and 'Blue N' Boogie.' This era marked a transition from big bands to smaller combos, fostering a more intimate musical landscape. Gillespie's late-career exploration, showcased here in Norman Granz's Pablo releases, features a quartet anchored by guitarist Joe Pass, bassist Ray Brown and drummer Mickey Roker. Their rendition of bop classics exhibit Gillespie's enduring brilliance. Supplementing the originals are alternate takes of some other standards from their arsenal all of which reveal Gillespie's improvisational prowess and arranging ingenuity.

Review: Originally released in 1973, the album shows the duo's eclectic mix of folk, rock, and soul influences, expertly crafted under the production of Arif Mardin. Tracks like 'When the Morning Comes' and 'Had I Known You Better Then' highlight Daryl Hall's and John Oates' songwriting ability and vocal harmonies, while 'She's Gone' stands out as a true classic with its emotive arrangement and memorable hooks.The reissue offers a fresh perspective on the album's enduring appeal, with remastered sound bringing out the nuances of the original recordings. From the subtle acoustic reggae vibe of 'When the Morning Comes' to the funky folk groove of 'Lady Rain,' each track showcases the duo's musical versatility and storytelling prowess. Overall, the reissue of Abandoned Luncheonette serves as a timely reminder of Hall and Oates' early brilliance and sets the stage for a new generation of listeners to discover and appreciate their timeless music.

Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.

Review: This is a re-release of the 1989 album The Healer by American blues guitarist and singer John Lee Hooker, one of the more influential figures in 20th Century blues music. Through a series of smoke-filled, devilish blues jams - charting collaborations with the likes of Bonnie Raitt, Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray - the album is an enduring critical success, owing to its high-quality recordings and collaborative spirit. All of these factors in tandem seem to get at something much deeper and out-there than the mere sum of its parts, with Hooker's vocals on the famous duet 'I'm In The Mood' sounding almost alien, indistinct.

Review: ***B-STOCK: Records very slightly warped***


Kick, the sixth and best-selling 1987 studio album by Australian band INXS, solidified the band's place in music history with its unmistakable sound. This six x platinum-selling album features four U.S. Top 10 singles, including the chart-topping 'Need You Tonight.' Mastered by Ryan K. Smith from an EQ'd Dolby tape copy and pressed at Quality Record Pressings, this 180-gram 45 RPM double LP promises unparalleled sound quality. Pressing 'Kick' at 45 RPM across two LPs significantly enhances the album's audio fidelity. The 45 RPM format allows for wider grooves and more space for the stylus to track the record's intricate details, resulting in a richer, fuller sound. This format minimizes distortion and improves the high-frequency response, delivering clearer vocals, more defined instruments, and a dynamic range that closely replicates the original studio recordings. The result is a listening experience that reveals nuances and depth previously unheard on standard 33 1/3 RPM records.

Album highlights include 'New Sensation', with its infectious guitar riff and vibrant energy, this track is a quintessential INXS anthem that captures the band's blend of rock and dance elements. 'Never Tear Us Apart' is the albums main ballad, featuring Michael Hutchence's emotive vocals and the band's ability to craft songs with deep emotional resonance. The orchestral arrangement adds a layer of sophistication and timelessness. 'Devil Inside', driven by a pulsating bassline and Hutchence's sultry performance, this song epitomizes the band's fusion of rock and funk, creating an irresistibly dark and alluring atmosphere. The album's No. 1 hit, 'Need You Tonight,' features a memorable hook and a seductive rhythm that made it a staple of 1980s pop-rock. The album has plenty of lesser known songs to explore and enjoy as well like the vibrant and catchy 'Calling All Nations'. Produced by Chris Thomas, 'Kick' successfully fused the funk and soul influences of INXS's earlier work with mainstream rock appeal. This reissue by Analogue Productions, with its meticulous mastering and high-quality pressing, ensures that Kick can be experienced in all its glory. Whether revisiting this classic or discovering it for the first time, listeners will appreciate the enhanced audio fidelity and the timeless appeal of INXS's greatest album.

Review: Kick, the sixth and best-selling 1987 studio album by Australian band INXS, solidified the band's place in music history with its unmistakable sound. This six x platinum-selling album features four U.S. Top 10 singles, including the chart-topping 'Need You Tonight.' Mastered by Ryan K. Smith from an EQ'd Dolby tape copy and pressed at Quality Record Pressings, this 180-gram 45 RPM double LP promises unparalleled sound quality. Pressing 'Kick' at 45 RPM across two LPs significantly enhances the album's audio fidelity. The 45 RPM format allows for wider grooves and more space for the stylus to track the record's intricate details, resulting in a richer, fuller sound. This format minimizes distortion and improves the high-frequency response, delivering clearer vocals, more defined instruments, and a dynamic range that closely replicates the original studio recordings. The result is a listening experience that reveals nuances and depth previously unheard on standard 33 1/3 RPM records.

Album highlights include 'New Sensation', with its infectious guitar riff and vibrant energy, this track is a quintessential INXS anthem that captures the band's blend of rock and dance elements. 'Never Tear Us Apart' is the albums main ballad, featuring Michael Hutchence's emotive vocals and the band's ability to craft songs with deep emotional resonance. The orchestral arrangement adds a layer of sophistication and timelessness. 'Devil Inside', driven by a pulsating bassline and Hutchence's sultry performance, this song epitomizes the band's fusion of rock and funk, creating an irresistibly dark and alluring atmosphere. The album's No. 1 hit, 'Need You Tonight,' features a memorable hook and a seductive rhythm that made it a staple of 1980s pop-rock. The album has plenty of lesser known songs to explore and enjoy as well like the vibrant and catchy 'Calling All Nations'. Produced by Chris Thomas, 'Kick' successfully fused the funk and soul influences of INXS's earlier work with mainstream rock appeal. This reissue by Analogue Productions, with its meticulous mastering and high-quality pressing, ensures that Kick can be experienced in all its glory. Whether revisiting this classic or discovering it for the first time, listeners will appreciate the enhanced audio fidelity and the timeless appeal of INXS's greatest album.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


This 1961 collaboration between vibraphonist Milt Jackson and saxophonist John Coltrane captures a moment of perfect synergy between two jazz giants. The mix of Jackson's melodic vibraphone and Coltrane's improvisational saxophone gives tracks like 'Bags & Trane' and 'Three Little Words' a deep, infectious groove. The interplay between the ensembleifeaturing Hank Jones on piano and Paul Chambers on bassicreates a tight, flowing rhythm that effortlessly swings. 'Blues Legacy' pays homage to the blues tradition while 'The Night We Called It A Day' reveals the group's sensitivity, with each solo capturing a different facet of emotion. This release is a remarkable reflection of their collaborative genius.

Review: This 1961 collaboration between vibraphonist Milt Jackson and saxophonist John Coltrane captures a moment of perfect synergy between two jazz giants. The mix of Jackson's melodic vibraphone and Coltrane's improvisational saxophone gives tracks like 'Bags & Trane' and 'Three Little Words' a deep, infectious groove. The interplay between the ensembleifeaturing Hank Jones on piano and Paul Chambers on bassicreates a tight, flowing rhythm that effortlessly swings. 'Blues Legacy' pays homage to the blues tradition while 'The Night We Called It A Day' reveals the group's sensitivity, with each solo capturing a different facet of emotion. This release is a remarkable reflection of their collaborative genius.

Review: A beautifully made package that presents Coltrane and his ensemble exploring a softer, more introspective side of jazz. The quartet, featuring McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums, delivers a captivating performance characterised by sublime improvisation and profound musical expression. Across the album's tracks, including classics like 'Say It (Over and Over Again)' and 'It's Easy to Remember,' Coltrane's saxophone weaves intricate melodies with a soul-stirring resonance, Tyner's piano work adds rich harmonies and delicate textures, while Garrison and Jones provide a solid rhythmic foundation that anchors each composition. Ballads shows Coltrane's ability to convey a wide range of emotions through his music, from tender vulnerability to profound introspection. The quartet's impeccable musicianship and intuitive interplay make this album a timeless treasure in the world of jazz..

Review: Charles Mingus' The Clown gets a reissue as part of Atlantic's 75 Historic Reissue Series. The Clown was Mingus' second consecutive masterpiece, featuring Jean Shepherd narrating the titular track about a clown striving to please. It introduced two of Mingus' finest compositions: the vigorous 'Haitian Fight Song' and the nostalgic 'Reincarnation of a Lovebird,' a tribute to Charlie Parker. Mingus' genius shines through in his focused yet flexible arrangements, balancing freedom and structure. The title track's improvisations, led by trombonist Jimmy Knepper, showcase Mingus' evolving modern compositional style with dissonance, tempo changes and intricate sections. This reissue beautifully captures the album's storytelling essence and musical sophistication.

Review: Charles Mingus' Pithecanthropus Erectus is a landmark in jazz, marking the shift from jazz as popular music to avant-garde experimentation. Mingus innovated by teaching arrangements by ear, composing with specific musicians in mind, and crafting tone poemsimoves that distanced him from traditional jazz standards. The title track is a haunting ten-minute tone poem, symbolising humanity's rise and fall. Its mix of eerie themes and chaotic bursts reflects civilization's cyclical collapse. Mingus' radical reimagining of Gershwin's A Foggy Day features jarring sound effects before settling into a more upbeat groove. 'Profile of Jackie' offers a moment of conventional beauty, showcasing Mingus' melodic side, while 'Love Chant' explores hypnotic repetition, though it drags in its early stages. However, the track evolves into an engaging improvisational journey. Featuring Jackie McLean and J.R. Monterose on sax, Mal Waldron on piano, and Willie Jones on drums, Mingus leads this quintet through a daring exploration of jazz's future. Pithecanthropus Erectus is a challenging but essential piece of jazz history.

Review: Charles Mingus' 1960 album Oh Yeah is a masterful blend of jazz and r&b that offers an inviting entry point for rock listeners. The album's vibrant energy and incorporation of heavy r&b influences make it a standout choice for those new to jazz, sidestepping the often inaccessible nature of traditional jazz presentations. Mingus' approach combines spontaneous jazz improvisation with a rock-friendly drive, evident in tracks like 'Hog Calling Blues.' You can't help but appreciate how Oh Yeah bridges the gap between jazz and rock, noting its dynamic, party-like atmosphere and Mingus' enthusiastic vocalizations. The album's drive and soul-infused style, reminiscent of Duke Ellington but with a modern twist, keep listeners engaged. We praise Oh Yeah for its ability to engage both casual listeners and jazz aficionados alike - the infectious enthusiasm and innovative blend of styles ensure that it remains a wonderful introduction to the genre.

Review: Thelonious Monk's Quartet Plus Two At the Blackhawk is a pivotal live performance from 1960 with Monk's quartet alongside trumpeter Joe Gordon and tenor saxophonist Harold Land. The album opens with 'Let's Call This,' where Monk's piano work and Gordon's trumpet blend seamlessly, setting a lively tone. 'Four in One' features intricate improvisations, highlighting the group's cohesive interplay. 'I'm Getting Sentimental Over You' slows the pace with a tender, emotive rendition, underscoring Monk's nuanced piano artistry. 'San Francisco Holiday' is a buoyant, rhythmic piece, while 'Round Midnight' delivers a hauntingly beautiful interpretation of Monk's classic composition. The album closes with 'Epistrophy,' an infectious and rhythmically complex piece that exemplifies the ensemble's dynamic energy and innovative spirit. Overall, Quartet Plus Two At the Blackhawk is a vibrant piece that shows Monk's genius and the extraordinary talents of his band. This well made reissue is another great record in Monk's illustrious catalog.

Review: Originally released on Concord Records in 1985 and recorded the year before, this reissued album features legendary bassist Ray Brown - along with pianist Gene Harris and drummer Gerryck King - playing a lively selection of jazz standards. Harris, who had retired to Idaho after his Three Sounds days, was coaxed back into the spotlight by Brown, leading to a fresh chapter in his career and this album delivers a soulful bop vibe with highlights like 'Exactly Like You', 'Teach Me Tonight' and 'Sweet Georgia Brown'. Adding to the energy, guitarist Emily Remler and saxophonist Red Holloway join the trio on 'Mistreated But Undefeated Blues'. Originally recorded at Coast Recorders in San Francisco, the sound is close-miked, capturing an intense, in-the-room feel. This reissue solidifies Soular Energy as a timeless jazz gem, reaffirming Concord's legacy in audiophile-quality jazz.

Review: Fans of this album originally from 1960 need this new reissue in their lives: it is part of the RCA Living Stereo classical LP series which those in the know recognise as the best in the game when it comes to top-quality orchestral performance and sound. It has been remastered from original master tapes and comes on hefty 200g vinyl for the ultimate listening experience. It finds Respighi, the Chicago Symphony and Fritz Reiner really setting a standard for classical music with thundering bass drum, crashing cymbals and gongs next to bellowing brass all jumping right out of the speakers.

Review: Steely Dan are the kind of band where everyone has their favourite album, with a fanbase who might well get a little heated debating which phase of the band is superior. But when it comes down to it, everyone will agree Aja is their masterpiece, where that exacting studio process and the elevated songwriting hit some magical sweet spot that yielded the semi-mythical perfect album. The grooves are so slinky as 'Black Cow' opens the record up, they spring with joy out of 'Peg' and they lock down heavy on 'Josie', and there's so much more in between. This faithful reproduction from Analogue Productions is a limited audiophile edition for a band who were made for audiophiles.

Review: Steely Dan's fourth studio album 'Katy Lied' was their 1975 standout moment, capturing a moment in time when the band had gained plenty of traction, and had already ridden the wave of fame for a good time. As a result, their music had grown in creativity and grandeur, expanding outwards from a mere prog rock outfit into a studio project, necessitating a steady stream of session musicians, highest-fidelity gear and lots of money. As ever, infectious guitar hooks and R&B funk structures make up most tracks here, making this an early party rock album if we've ever heard one. Katy may be a love interest or a sumptuous muse - but the title also alludes to a katydid, a species of insect related to grasshoppers or crickets.

Review: Every Steely Dan album is a world within itself - part of a broader galaxy of planets that share the same energy source, but ultimately unique and never interchangeable. Can't Buy A Thrill was the very beginning of Donald Fagen and Walter Becker's revered project, fabled for its exacting studio prowess and ruthless commitment to perfection. There's immediacy to the likes of stone-cold pop classics 'Do It Again' and 'Reelin' In The Years', but this is still sublime and subversive music from a band who flew out of the gate fully realised. Giving a classic like this the treatment it deserves, Analogue Productions have gone all-out for this deluxe edition, with half-speed remastering and pressing onto a hefty 200 gram platter, all presented in a lavish box.

Review: Originally released in 1980, this limited audiophile vinyl 2xLP box set from Analogue Productions offers a superb listening experience of a masterpiece of jazz-rock fusion. The remastered audio is crystal clear, revealing every nuance of the band's intricate arrangements and Donald Fagen's wry lyrics. From the opening strains of 'Hey Nineteen' to the lush harmonies of 'Time Out of Mind,' this is a sonic journey that will transport you to another time and place. Whether you're a longtime fan or a new listener, this box set is a must-have.

Review: Here comes Stone Temple Pilots' gatefold reissue of their seminal 1994 album, a pivotal moment in the 1990s grunge and alternative rock scene. Following the success of their debut, Core, Purple rocketed to number one on the Billboard 200 and achieved multi-platinum status worldwide. The album's standout single, 'Interstate Love Song,' became a defining anthem of the era, showcasing Stone Temple Pilots' evolution from grunge newcomers to rock superstars. This reissue offers a fresh appreciation of the album's potent blend of raw energy and introspective lyrics, with Scott Weiland's exploration of themes like addiction, love, and self-discovery adding depth and authenticity. Purple is more than just a grunge album; it's a show of the band's artistic growth and enduring impact and this reissue provides fans with a chance to revisit or discover the powerful and emotionally resonant music that solidifiedtheir place in rock history.

Review: Stone Temple Pilots' 1992 album, Core, is a classic of alternative rock that is characterized by heavy guitars, catchy melodies, and Scott Weiland's distinctive vocals. The album's standout track is 'Plush,' a power ballad that showcases Weiland's soaring vocals and the band's knack for writing memorable hooks. Other highlights include 'Sex Type Thing,' a driving rocker with a catchy chorus, and 'Wicked Garden,' an up-tempo song that shows the Weiland at his more aggressive best. Reaching number three on the Billboard 200 chart, Core is an essential album for fans of 90s alternative rock.

Review: This album recorded by Tatum and Webster in 1956 came just prior to Tatum's passing less than two months later. Revered as a masterpiece, the dynamic interplay between Webster's blend of aggression and lyricism and Tatum's flamboyance and delicacy creates a captivating encounter, with Callendar and Douglass providing impeccable support. Reissued previously by Essential Jazz Classics, this new edition adds bonus tracks from a 1953 Tatum solo session and four numbers from a summit meeting between Webster and Teddy Wilson.The opener sets a languid tempo, diverging from the breakneck pace of many bebop jams, establishing the album's relaxed vibe. And even as later cuts quicken the pace, there's an underlying sense of ease that permeates throughout. Tatum's cascades of notes serve as ornamental accents rather than urgent directives, while Webster, despite the excess reverb of the era, focuses on melody.

Review: In 1957, Art Taylor brought together an all-star ensemble for a recording session that captured the swinging energy of his Taylor's Wailers group. Featuring Donald Byrd, Charlie Rouse, and Jackie McLean, this Prestige session showcased the rhythmic intensity expected from a drummer-led band. The inclusion of two Thelonious Monk compositions, 'Well, You Needn't' and 'Off Minor,' arranged by Monk himself, adds a distinctive flair. Another highlight is Jimmy Heath's 'C.T.A.,' featuring John Coltrane alongside Red Garland and Paul Chambers, a dream lineup of Prestige regulars. Taylor's Wailers embody the pulse and drive of jazz's golden era, making this a timeless addition to any collection.

Review: The Alternate Blues presents a standout gathering of three iconic trumpeters - Dizzy Gillespie, Freddie Hubbard, and Clark Terry - alongside jazz luminaries like Oscar Peterson, Joe Pass, Ray Brown, and Bobby Durham. Recorded in 1980, this album captures the essence of a classic jam session, showcasing the musicians' virtuosity and camaraderie. The slow blues jams on this album, each exceeding eight minutes, allow the players ample space to explore and express themselves. Despite the relaxed pace, the performances are emotionally charged, drawing listeners into the heart of the blues tradition. Granz's decision to release alternate takes adds a layer of authenticity, capturing the spontaneity and energy of the sessions. Highlights include Hubbard's soulful rendition of 'Here's That Rainy Day' and the stellar ballad medley featuring all three trumpeters. The interaction between the musicians is seamless, resulting in a cohesive and stunning recording. In sum, The Alternate Blues is a bookmark for jazz aficionados, offering a rare glimpse into the creative process of three legendary trumpeters.

Review: Thelonious in Action, recorded live at the Five Spot Cafe in 1958, captures jazz king Thelonious Monk at his improvisational best. Featuring Johnny Griffin on tenor sax, Ahmed Abdul-Malik on bass and Roy Haynes on drums, the album showcases the quartet's dynamic interplay and Monk's unique, percussive piano style. Highlights include the lively 'Blue Monk' and the intricate 'Rhythm-A-Ning.' Griffin's robust sax lines complement Monk's eccentric rhythms throughout to create a vibrant, engaging atmosphere. The album's live setting adds an intimate, spontaneous feel, making this newly reissued classic a must listen for jazz enthusiasts and a brilliant example of Monk's enduring genius.

Review: This soundtrack is a classy melange of blues, jazz and rock that all perfectly capture the sultry atmosphere of Dennis Hopper's neo-noir classic of the same name. Set in a small Texas town, the film follows drifter Harry Madox as he becomes entangled in a web of seduction and deceit and the moody cinematography and gripping narrative are elevated by this electrifying score. Legends of their game like Miles Davis, John Lee Hooker, Taj Mahal and Earl Palmer all feature with sparse, eerie and deeply evocative overtones. For that reason, this one is much sought after and has retained its smoky allure 35 years after its original release.