Analogue Productions US Vinilo y CD

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: 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: 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 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: 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: 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: ***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: 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: The Velvet Underground's Loaded, a pivotal rock record from 1970, returns in a meticulously remastered SACD format. The album marked the band's bid for mainstream success, with label head Ahmet Ertegun pushing Lou Reed to deliver a record "loaded with hits". The result was a shimmering rock collection, though one far removed from the group's avant-garde roots. Though Reed left the band before its release, Loaded still shines as a masterclass in rock archetypes. Tracks like 'Sweet Jane' and 'Rock & Roll' cemented their status as proto-punk pioneers, while the sunny cynicism of 'Who Loves the Sun' and the rollicking 'Head Held High' showcased the band's sardonic wit. With Doug Yule taking on a leading roleisinging four tracks and playing much of the instrumentationiand Maureen Tucker absent on maternity leave, the album stands as both a departure from and a reflection of their earlier works. A near-perfect rock album, yet its polished production and radio-friendly leanings make it an outlier in the Velvet Underground canon. The SACD reissue offers audiophiles the ideal digital experience, capturing the tension between pop ambition and artistic identity that defines this bittersweet swan song. Everyone should own a copy of this magnificent album.

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


Loaded, The Velvet Underground's final album featuring Lou Reed, epitomises a perfect rock 'n' roll record. Released in 1970 after their stint with Verve, it marked the band's shift to Atlantic Records under Ahmet Ertegun's directive for a hit-laden album. The absence of founding members John Cale and Maureen Tucker, coupled with Doug Yule's prominent role, shifts the album's dynamic but does not compromise its impact. With standout tracks like 'Sweet Jane' and 'Rock & Roll,' it feels like a greatest hits collection, expertly navigating rock archetypes. This 180-gram 45 RPM double LP reissue by Analogue Productions, pressed at Quality Record Pressings and housed in a tip-on old style gatefold jacket by Stoughton Printing, provides an exquisite listening experience. A certified rock classic and a significant chapter in the Velvets' legacy.

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.