Analogue Productions US レコード& CD

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: 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: 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: 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: 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: 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: 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.