Analogue Productions US Schallplatten & CDs

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: 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: Amused To Death is the third studio album from Roger Waters outside of his work in Pink Floyd. As one of the fundamental creative forces in the prog behemoth, of course it's hard to separate his solo work from that most famous of bands, but this is indeed its own beast. At times it's an experimental space in which Waters uses space and minimalism to great effect, creating a foreboding sound peppered with speech samples and field recordings. There are of course plenty of more straightforward tracks too, like lead single 'What God Wants, Part 1'. This lavish issue of the 1992 album spreads the music out across four discs and comes in a box set format, a must-have for devoted Floyd and Waters collectors.

Review: The remastered edition of The Yes Album by Yes revitalises their groundbreaking 1971 classic. Featuring hits like 'Yours Is No Disgrace' and 'I've Seen All Good People,' this album showcases the band's signature blend of progressive rock, intricate musicianship, and soaring harmonies. The remastering enhances the audio quality, bringing clarity and depth to Steve Howe's guitar work, Chris Squire's bass lines, and Jon Anderson's ethereal vocals. This release not only preserves the original magic but also introduces a new generation to the innovative sound of Yes, an undeniable cornerstone of progressive rock history.

Review: The Yes Album stands as a pivotal moment in the prog legends' career, marking their meteoric rise to fame. Released in 1971, this masterpiece showcases the band's exceptional musicianship and innovative sound. With Jon Anderson on vocals, Chris Squire on bass and vocals, Bill Bruford on drums, Tony Kaye on keyboards and the introduction of Steve Howe on guitars and vocals, it's a stunning display of progressive rock featuring classics like 'Yours Is No Disgrace,' 'Starship Trooper,' 'I've Seen All Good People,' and the hit single 'Your Move'. Tracks like Steve Howe's acoustic masterpiece 'Clap,' the collaborative effort 'Perpetual Change' and the fusion-inspired 'A Venture' further highlight the band's intricate compositions and dynamic performances.

Review: Analogue Productions' reissue of Yes' 90125 is a celebration of the band's pivotal album, marking Atlantic Records' 75th anniversary. Mastered by Kevin Gray at Cohearent Audio from an original analogue master tape, this 180-gram 45 RPM double LP presents the album in its finest form. 90125 was a departure from Yes' progressive style, but it propelled the band to new heights of commercial success. Hits like 'Owner Of A Lonely Heart' and 'Leave It' showed Yes' ability to craft memorable melodies with a contemporary edge. The album's slick production, courtesy of Trevor Horn and various other members of The Art of Noise, and the addition of guitarist Trevor Rabin and keyboardist Tony Kaye, contributed to its fresh sound. This reissue preserves the album's sonic richness and showcases the intricate harmonies and dynamic arrangements that define Yes' music. With its tip-on gatefold jacket and high-quality pressing, Analogue Productions delivers a definitive edition for fans and audiophiles alike. 90125 remains a significant and well-regarded album in Yes' illustrious discography, and this reissue is a must-have for collectors.

Review: The SACD version of one of the most important progressive rock albums, which catapulted progressive rock from a experimental and avante garde genre into a well-respected style of rock music, while forging a path for symphonic rock pieces of longer expression to become commonplace. The enhanced clarity and depth highlight every intricate detail of the band's ambitious arrangements, making this the definitive digital edition. The album's tracks shine brighter than ever. 'Roundabout' bursts with energy, its iconic guitar intro and driving rhythm section sounding crisp and vivid. 'South Side of the Sky' reveals its layered complexity, with the interplay between piano, vocals and searing guitar more dynamic than ever. The atmospheric 'Heart of the Sunrise' benefits from the SACD's superior soundstage, emphasising its sweeping contrasts between serene melodies and thunderous intensity. Each member's contribution feels distinct yet perfectly integrated, with the enhanced fidelity highlighting the virtuosity of their performances.