Atlantic 75 series

Pithecanthropus Erectus established Charles Mingus as a composer of boundless imagination and a fresh new voice in jazz that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely "Profile of Jackie," are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose. The Penguin Guide to Jazz gives the album a maximum four-star rating and included it in its "core collection" of essential recordings, describing it as "One of the truly great modern jazz albums". In the same review, "the all-in ensemble work" in parts of the first track, "Pithecanthropus Erectus," is described as being "absolutely crucial to the development of free collective improvisation in the following decade."

Purple, the second studio album released in 1994 by the Stone Temple Pilots, stands as a monumental achievement in the band's career and a defining moment in the grunge and alternative rock music scene of the 1990s. With a potent blend of raw energy, introspective lyrics and masterful musicianship, Purple not only catapulted Stone Temple Pilots to superstardom, but it also marked a significant evolution in the band's sound. The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at No. 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide. Its chart-topping single, "Interstate Love Song," became an anthem for a generation, and the album as a whole showcased the band's artistic prowess. Lyrically, "Purple" also revealed a more introspective and mature side of Stone Temple Pilots. Scott Weiland's songwriting delved into personal struggles and emotions, addressing themes of addiction, love, and self-discovery. This depth added a layer of authenticity to the album, allowing listeners to connect with the band on a profound level. Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music. Analogue Productions has given the showstopping Purple the full reissue treatment: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

"Nightlife" kicks off a series of energetic and nearly flawless melodic rock songs on the album. Within this collection, you'll find tracks like "Woman in Black," "Don't Let Go," and the '50s-inspired "Luanne." However, the standout gem in this album is "Juke Box Hero." This song manages to be both a mainstream hit and exceptionally unique. It blends heavy metal guitar riffs, harmonized vocals, and lyrics that capture the desire to become a rock star. But there's more to this album. It also includes the essential power ballad, "Waiting for a Girl Like You." This emotional song transcended genres, becoming one of the most successful tearjerkers of the decade. It's a constant presence on soft rock radio and has overshadowed another beautiful ballad from the album called "Girl on the Moon." And let's not forget the surprising and funky "Urgent." This track stands out as one of the band's most memorable and uncharacteristic smash hits, thanks to Junior Walker's signature saxophone solo. As awesome as the music is this definitive deluxe 180-gram 45 RPM 2LP package. Foreigner 4 has never sounded better!

Before Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans. Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country — a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time The album — the first to feature Nelson with long hair and a beard on the cover — gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs "Shotgun Willie" and "Stay All Night (Stay A Little Longer)" peaked at Nos. 60 and 22 on Hot Country Songs respectively. We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the timeless Willie Nelson classic, Shotgun Willie. Cue it up and prepare to be transported!

After half a century of crafting an astonishing array of chart-topping albums and embarking on triumphant global tours, Yes's The Yes Album marks the origin of their meteoric rise, through the recording sessions for this 1971 masterpiece. With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted of Jon Anderson (vocals), Chris Squire (bass/vocals), Bill Bruford (drums), Tony Kaye (keyboards) and the introduction of Steve Howe (guitars/vocals), The Yes Album was the band's breakthrough album, ultimately remaining on the sales charts for 34 weeks, selling more than 1 million copies. This important piece of music consists of six amazing Yes workouts such as the definitive album opener "Yours Is No Disgrace," the hard rocking "Starship Trooper" and the brilliant "I've Seen All Good People" plus the massive hit single "Your Move." From this moment on, there was no looking back for this superstar quintet. Yes enthusiasts were superlatively rewarded with even more progressive rock favorites as the brilliant acoustic driven guitar work of Steve Howe's "Clap," Chris Squire and Jon Anderson's superb "Perpetual Change" and the jazz-rock fusion of "A Venture" truly made this album a standout. The album was a critical success and a major commercial breakthrough for Yes, who had been at risk of being dropped by Atlantic due to the commercial failures of their first two albums. It reached No. 4 in the United Kingdom and No. 40 in the United States, and was later certified platinum by the Recording Industry Association of America for surpassing 1 million copies. Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of The Yes Album. For Yes fans, this is a can't-miss addition to your album collection.

The Clown was Charles Mingus' second masterpiece in a row, featuring Jean Shepard (yes, that Jean Shepard from the holiday movie A Christmas Story) on the title tune narrating a story about a clown attempting to please the world with his performances. The Clown also introduced two of Mingus' finest compositions in the driving, determined "Haitian Fight Song" and the '40s-flavored "Reincarnation of a Lovebird," a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. The Clown tells the story of a clown "who tried to please people like most jazz musicians do, but whom nobody liked until he was dead," Mingus said, in an interview. "My version of the story ended with his blowing his brains out with the people laughing and finally being pleased because they thought it was part of the act. I liked the way Jean changed the ending; leaves it more up to the listener." The title track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd's story and paints an aural backdrop. It's evidence that Mingus' compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! A journey through the blues, from the timeless sax legend! 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing These recordings come from the same sessions that produced 1961's My Favorite Things. This is one of the least well-known Coltrane albums, partly because it is an all blues format and partly because it was released at the end of his association with Atlantic records. Plays The Blues features the talents of McCoy Tyner, Elvin Jones and Steve Davis. It is the beginning of his work with Tyner and Jones in quartet form. For that alone this recording would be important.  Although this album is called Plays The Blues, this is by no means the only blues which Coltrane plays. There are blues elements, moods and feelings in all of his best-known recordings. Listen to "Slowtrane," "Blue Train," "Bessie's Blues" among others and one can't help but hear the blues vibe, writes AllAboutJazz.com. The original six tracks are fantastic and have that same blues vibe. They hit the listener right in the heart and soul and don't let go. All six are superb, but "Blues To Bechet," "Mr. Day," "Mr. Knight" and "Blues To Elvin" are absolute classics. Cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

If I Could Only Remember My Name was the debut solo record from David Crosby. Recorded in 1970 after the passing of his girlfriend Christine and released in February of 1971, the album explores themes including loss and disorientation. The album features a who's who of contributors from the San Francisco Bay area including Paul Kantner and Grace Slick of Jefferson Airplane, Jerry Garcia of the Grateful Dead, and Santana, and his cohort from Los Angeles including Graham Nash, Neil Young, and Joni Mitchell. The album has attained a cult status throughout the last 50 years, hailed for its spooky, psychedelic, and truly unique sounds. AllMusic gave the album 4.5 stars, with reviewer Stanton Swihart writing: "With his ringing, velvety voice — the epitome of hippie crooning — and inspired songwriting, he turns If I Could Only Remember My Name into a one-shot wonder of dreamy but ominous California ambience." All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

John Coltrane's landmark 1961 jazz album My Favorite Things was born of the same recording sessions that yielded a majority of the albums Coltrane Plays the Blues (1962), Coltrane's Sound (1964), and Coltrane Legacy. That My Favorite Things was recorded in less than three days was in itself, remarkable. This record marked a significant turning point in Coltrane's career and showcased his distinctive playing style, which continues to inspire and influence musicians to this day. Coltrane's playing on My Favorite Things can be described as innovative, exploratory, and deeply emotive. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band, notes AllMusic. Coltrane was known for pushing the boundaries of jazz and expanding the possibilities of the saxophone as an instrument. Throughout the album, Coltrane's improvisations are characterized by their intensity, virtuosity, and sheer creativity. The title track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. Coltrane's use of modal playing made him a pioneer — modal jazz emphasizes improvisation over specific chord progressions. Coltrane's modal approach allowed him to explore a broader range of tonal colors and to create more open and expansive musical landscapes. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments. In 1998, My Favorite Things received the Grammy Hall of Fame award. The album attained gold record certified status in 2018, having sold 500,000 copies. We've given this definitive reissue of such a landmark album the presentation it deserves: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Several unique features set the debut studio album by folk rock supergroup Crosby, Stills & Nash, released in 1969 by Atlantic Records, apart. It's the only album by the band before adding Neil Young to their lineup. The album spawned two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at No. 28 during the week of August 23, 1969, and at No. 21 during the week of December 6, 1969, on the U.S. Billboard Hot 100. The album itself peaked at No. 6 on the U.S. Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales in excess of 4 million copies. Instantly lifting the group to stardom, along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink, the previous year, the album is cited by music reviewers for initiating sweeping changes in popular music. In 2021 the album held the rank of No. 161 on Rolling Stone's 500 Greatest Albums of All Time list. Crosby, Stills & Nash was "the perfect blend of David Crosby's social conscience, Stephen Stills's virtuoso musicianship and Graham Nash's ability to craft the perfect pop melody for radio," writes Rolling Stone, in its review. The band was brought together after Crosby was fired from The Byrds, Stills's band, Buffalo Springfield had broken up (a band which also featured later member, Neil Young) and Nash's departure from The Hollies. The three decided to form a band after an informal jam led them to discover how well their voices harmonized. Released in May 1969, the band would perform nine of the album's 10 songs at Woodstock, which was the second time they ever did, in August of the same year. 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. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time. AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks." The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences. This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

1975 was a banner year for superstar Alice Cooper with the release of the groundbreaking concept album Welcome To My Nightmare. This album showcases Cooper's theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy. From the opening notes of the title track, "Welcome to My Nightmare," listeners are transported into a dark and twisted dreamscape. Cooper's signature blend of rock, glam, and theatricality shines throughout the album. His gritty yet melodic vocals, combined with a richly layered musical backdrop, create an atmosphere of eerie enchantment. The album's production incorporates haunting orchestral arrangements, catchy hooks, and powerful guitar riffs, crafting a sonically diverse and captivating listening experience. Teaming up again with his longtime producer Bob Ezrin, the duo assembled some of the greatest music to go along with the David Winter produced film, and in doing so, created some of h is best known songs like the huge hit single "Only Women Bleed." This Top 5 single carried Welcome To My Nightmare into multiple platinum territory and forever etched the word superstar to the name of Alice Cooper. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Kevin Gray and cut at 45 RPM. Pressed at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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 some familiar patterns emerging, wrote Rolling Stone's John Milward. "First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)." 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, we 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 is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis-news.com.