Analogue Productions US Vinilo y CD

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: 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: 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: 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: Lost since the 1970s, the original tapes for Lightnin' Hopkins raw blues thunderclap from 1965 have finally rematerialised, resulting in the freshly remastered version you hear here. Arrestingly tall, tongue-in-cheek tales from the vulgar songster are put on fully nude display from the jump, with 'I'm Going To Build A Heaven Of My Own' narrating make-do haven fantasies of offering a harem of women a "home", 'I'm A Crawlin' Black Snake' hearing the lyricist personify himself as an amoral, black serpent, and 'Lonesome Graveyard' flashing a rare moment of lugubriousness and grief. A special salvaging from redeemed tape, we must insist: let yourself be struck, and don't wear rubber soles going into this one...

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


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.

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.

Review: T-Bone Walker's T-Bone Blues stands as a pinnacle of his career, capturing the essence of his virtuosity across sessions from 1955, 1956 and 1957. Released by Atlantic Records in 1959, this album is a testament to Walker's mastery of blues guitar. The album features standout tracks from various sessions, including the electrifying instrumental 'Two Bones and a Pick', showcasing Walker's talent alongside RS Rankin and jazz guitarist Barney Kessel. The 1955 Chicago sessions with Junior Wells and Jimmy Rogers produced gems like 'Why Not' and 'Papa Ain't Salty'. Walker's versatile style and experience forever set his place in the blues pantheon.