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Back To Black

Amy Winehouse

Soul - Released October 27, 2006 | Universal-Island Records Ltd.

Hi-Res Distinctions The Qobuz Ideal Discography
With her tragic early death (though hardly surprising given Amy Winehouse's lifestyle) a truly unique voice of contemporary soul stopped singing on July 23, 2011. She has a voice that should never be overshadowed either by her chaotic life covering the pages of British tabloids, or by her struggles with alcohol and drugs, or even the hundreds of videos of failed concerts on YouTube... When the Winehouse phenomenon exploded with this second album, the sublime Back To Black being far superior to her first record Frank, soul music was going through a slump with hollow, syrupy R&B singers and sanitized productions flooding the scene. Few people tried to develop the path established by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. But then along came Amy Winehouse, with her incredible timbre, her genuine songs (which she wrote herself, unlike 90% of her peers), her vintage-tinged productions (which were never passé) and brass-filled instrumentation. To top it all off, even her image was distinctive: 50’s beehive, biker tattoos and a cheeky attitude. Back To Black topped the charts for months all over the world, and it's still a real masterpiece of soul music and R&B. When critical opinion meets popular opinion – something relatively rare that’s worth underlining - the enjoyment is only tenfold. © Marc Zisman/Qobuz
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Back In Black

AC/DC

Metal - Released July 25, 1980 | Columbia

Hi-Res Distinctions The Qobuz Ideal Discography
When an intoxicated Bon Scott died by choking on his own vomit in February, 1980, no one envisaged a future for AC/DC. However, the Anglo-Australian band succeeded in finding a replacement for their legendary lead singer. Brian Johnson from the band Geordie rose to the challenge against all odds and imposed a powerful, primarily high-pitched singing style which differed greatly from that of his predecessor. With its legendary black cover, Back in Black marked the birth of a new AC/DC and contains a series of incredible tracks. On guitar were the Young brothers (Malcolm with his Gretsch and Angus with his unstoppable Gibson SG), constantly trying to outdo each other’s genius both through the effectiveness of their riffs and the precision of their solos (notably on Back in Black and You Shook Me All Night Long). As well as pure AC/DC (What Do You Do for Money Honey), they give us some thick boogie with a ZZ Top twang (Have a Drink on Me), theatrical hard rock à la Led Zep (Shake a Leg), and let us not forget the ode to the God of Blues (Rock and Roll Ain’t Noise Pollution). Cliff Williams and Phil Rudd finish the job by providing the record with a concrete bassline and strong rhythm, doing so with great finesse. Upon the release of Back in Black on July 15th, 1980, fans were, without surprise, torn on the question of Brian Johnson. Could the band go on without Bon Scott? The record’s success and the world tour that followed quelled any debate and, forty years later, no one questions the decision for a second. With 50 million units sold, Back in Black is the second best-selling album of all time, just behind a certain Thriller by Michael Jackson… © Marc Zisman/Qobuz
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Keep on Keeping On. Studio Albums 1970-74 (2019 Remaster)

Curtis Mayfield

Soul - Released February 22, 2019 | Rhino

Hi-Res Distinctions The Qobuz Ideal Discography
A guitarist worshipped by Jimi Hendrix, an insanely good falsetto singer that even Prince looked up to, an author heavily involved in the American civil rights movement and a top-tier songwriter: Curtis Mayfield was a man of many talents. His groovy symphonies helped form solid links between funk, jazz, blues, soul and traditional gospel. After making his name with The Impressions in the 60s, he embarked on a solo career in 1970. This box set named Keep On Keeping On contains the singer’s first four studio albums, each remastered in Hi-Res 24-Bit quality: Curtis (1970), Roots (1971), Back to the World (1973) and Sweet Exorcist (1974). Here, the rhythm'n'blues enjoy a second life, supported by a wah-wah guitar, careful percussion and an always airy string section. Every topic concerned is a mini-tragedy, socially engaged, anchored in traditional gospel music. The masterful arranging of these albums (especially his masterpiece Curtis, and Roots) can be considered rivals to Marvin Gaye’s What’s Going On. It is worth mentioning that this 1970-1974 box set does not include the soundtrack to Superfly, Gordon Parks Jr.’s 1972 film which contains the singles Pusherman and Freddie’s Dead. © Marc Zisman/Qobuz
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Live (Collector's Edition)

AC/DC

Metal - Released October 27, 1992 | Columbia

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Back the Way We Came: Vol. 1 (2011 - 2021)

Noel Gallagher's High Flying Birds

Alternative & Indie - Released June 11, 2021 | Sour Mash Records Ltd

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Black Messiah

D'Angelo

Soul - Released December 15, 2014 | RCA Records Label

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music - Sélection JAZZ NEWS - Grammy Awards
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Journey Through The Secret Life Of Plants

Stevie Wonder

Soul - Released October 30, 1979 | Motown

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Stevie Wonder broke a three-year silence, one that followed a series of six classic albums released within six years, with this double album, the score/soundtrack to a little-seen environmental documentary directed by Wild Bunch co-screenwriter Walon Green. From the release of Songs in the Key of Life through the release of Plants, Wonder had been active, actually, but only as a collaborator, working with Ramsey Lewis, the Pointer Sisters, Minnie Riperton, Syreeta, Ronnie Foster, and Michael Jackson. Even so, three years was a considerable lag between albums. Anticipation was so high that this release peaked at number four on the Billboard 200 and R&B album charts. It quickly slipped to footnote status; when Wonder’s 1972-1980 albums were reissued in 2000, it was left out of the program. Plants is a sprawling, fascinating album. Though it is dominated by synthesizer-heavy instrumental pieces with evocative titles, there is a handful of full-blown songs. The gorgeous, mostly acoustic ballad “Send One Your Love” was a Top Ten R&B single, while the joyous “Outside My Window” registered in the Top 60. Beyond that, there’s the deep classic “Come Back as a Flower,” a gently lapping, piano-led ballad featuring Syreeta on vocals. Otherwise, there are playfully oddball tracks like “Venus’ Flytrap and the Bug,” where Wonder chirps “Please don’t eat me!” through robotizing effects, and “A Seed’s a Star,” which incorporates crowd noise, a robotized monologue, and a shrieking Tata Vega over a funkier and faster version of Yellow Magic Orchestra. The album is not for everyone, but it suited its purpose and allowed its maker an amount of creative wiggle room that few major-label artists experience. © Andy Kellman /TiVo
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Illinois

Sufjan Stevens

Alternative & Indie - Released July 5, 2005 | Asthmatic Kitty

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music
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Live at River Plate

AC/DC

Rock - Released November 19, 2012 | Columbia

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Westworld: Season 1 (Music from the HBO Series)

Ramin Djawadi

TV Series - Released March 15, 2019 | WaterTower Music

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Katy Lied

Steely Dan

Pop - Released March 1, 1975 | Geffen*

Building from the jazz fusion foundation of Pretzel Logic, Steely Dan created an alluringly sophisticated album of jazzy pop with Katy Lied. With this record, Walter Becker and Donald Fagen began relying solely on studio musicians, which is evident from the immaculate sound of the album. Usually, such a studied recording method would drain the life out of each song, but that's not the case with Katy Lied, which actually benefits from the duo's perfectionist tendencies. Each song is given a glossy sheen, one that accentuates not only the stronger pop hooks, but also the precise technical skill of the professional musicians drafted to play the solos. Essentially, Katy Lied is a smoother version of Pretzel Logic, featuring the same cross-section of jazz-pop and blues-rock. The lack of innovations doesn't hurt the record, since the songs are uniformly brilliant. Less overtly cynical than previous Dan albums, the album still has its share of lyrical stingers, but what's really notable are the melodies, from the seductive jazzy soul of "Doctor Wu" and the lazy blues of "Chain Lightning" to the terse "Black Friday" and mock calypso of "Everyone's Gone to the Movies." It's another excellent record in one of the most distinguished rock & roll catalogs of the '70s.© Stephen Thomas Erlewine /TiVo
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Old Yellow Moon (Edition Studio Masters)

Emmylou Harris

Country - Released March 4, 2013 | Nonesuch

Hi-Res Distinctions The Qobuz Ideal Discography - Stereophile: Recording of the Month
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Iron Man 2

AC/DC

Film Soundtracks - Released April 19, 2010 | Columbia

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Another Side Of Bob Dylan

Bob Dylan

Pop/Rock - Released August 7, 1964 | Columbia

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The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one -- anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with "All I Really Want to Do," "Chimes of Freedom," "My Back Pages," "I Don't' Believe You," and "It Ain't Me Babe" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan's trying more things -- this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.© Stephen Thomas Erlewine /TiVo
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Wrecking Ball (Deluxe Edition)

Emmylou Harris

Country - Released September 26, 1995 | Nonesuch

Hi-Res Booklet
Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick -- the gossamer vocals, the flawless phrasing -- while also opening up innumerable new avenues for her talents to explore. The songs shimmer and swirl, given life through Lanois' trademark ringing guitar textures and the almost primal drumming of U2's Larry Mullen, Jr. The fixed point remains Harris' voice, which leaps into each and every one of these diverse compositions -- culled from the pens of Neil Young, Bob Dylan, Jimi Hendrix, Steve Earle, and others -- with utter fearlessness, as if this were the album she'd been waiting her entire life to make. Maybe it is.© Jason Ankeny /TiVo
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Live from the Ryman

Charley Crockett

Country - Released September 29, 2023 | Son of Davy

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Back To Black

Amy Winehouse

Soul - Released October 30, 2006 | Universal-Island Records Ltd.

The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. (That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance.) Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson (fresh off successes producing for Christina Aguilera and Robbie Williams), Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R&B producers active. (They certainly know how to evoke the era too; Remi's "Tears Dry on Their Own" is a sparkling homage to the Motown chestnut "Ain't No Mountain High Enough," and Ronson summons a host of Brill Building touchstones on his tracks.) As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against "Rehab" on the knockout first single with some great lines: "They tried to make me go to rehab I won't go go go, I'd rather be at home with Ray" (Charles, that is). As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as "Love Is a Losing Game" or the title song ("We only said good bye with words, I died a hundred times/You go back to her, and I go back to black").© John Bush /TiVo
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Back to the Blues

Gary Moore

Blues - Released January 1, 2001 | Sanctuary Records

Six years after his successful tribute to Peter Green, Gary Moore follows with another solid electric blues-rock effort that falls squarely in line with his similarly themed albums Still Got the Blues, After Hours, and Blues Alive. Although he adds brass on a rollicking version of B.B. King's "You Upset Me Baby," Moore predominantly sticks to the basics here, pounding out energetic and full-bodied blues-rock and leading a stripped-down trio with a journeyman's enthusiasm and his trademark thick, sustained guitar solos slashing through the proceedings. The majority of the tracks are originals, although even the best of them sound suspiciously like rewritten blues standards. "Cold Black Night" is little more than a speeded-up "Messin' With the Kid," and "Picture of the Moon" sounds awfully similar to Moore's own "Still Got the Blues." And whether the world needs yet another version of "Stormy Monday" or "I Ain't Got You" is debatable. But Moore pulls off even the most clichéd material with his phenomenal prowess; supple, identifiable vocals; and a guitar tone that effortlessly shifts from a Santana/Peter Green-styled hovering intensity to a slashing Stevie Ray Vaughan attack. While Moore isn't redefining the genre or even his own approach to it, he's adding his stamp to blues-rock with Back to the Blues. Consistently rugged, moving, and heartfelt, the album is a reminder that even without reinventing an established musical style, an artist can effectively work within its boundaries to produce a satisfying, if not quite fresh, interpretation relying solely on talent and passion.© Hal Horowitz /TiVo
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It Takes A Nation Of Millions To Hold Us Back

Public Enemy

Hip-Hop/Rap - Released June 28, 1988 | Def Jam Recordings

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
For many, Public Enemy’s second album is the greatest in rap history. And when it hit music stores in 1988, It Takes A Nation Of Millions To Hold Us Back enshrined Chuck D’s gang as the Rolling Stones of hip hop. An uppercut that changed the course of the genre’s history, Public Enemy remains thanks to this album THE benchmark in terms of ideological AND musical engagement. Offering a black version of CNN stripped of political correctness, examining each corner of American society with (extremely) rich rhymes and layers of literate and often carnivorous samples, Public Enemy impose their words as well as their sound. An aggressive approach to musical production (the Bomb Squad led by producer Hank Schocklee) that produces literal acoustic miracles. An electric and groovy tsunami, light years away from the bling-bling rap that would eventually take control of the genre, which attained its creative Golden Age in 1988. This Deluxe Edition includes a second record featuring thirteen bonuses, including the No Noise version of Bring The Noise, instrumentals for Rebel Without a Pause, Night Of The Living Baseheads and Black Steel In The Hour of Chaos, and the soundtrack version of Fight The Power for Spike Lee’s eponymous film. © MZ/Qobuz
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Pontiac

Lyle Lovett

Country - Released October 1, 1987 | Curb Records