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: 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: 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: 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: 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: 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: 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: 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.