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

Since 2019, Taylor Swift has been leading her fans and her music into a space-time rift worthy of a science-fiction block-buster: when she releases a new album, there's a 50/50 chance that it's an old one. What is the meaning of this devilry? Well, it’s mainly due to complicated and conflicting contracts, copyrights and (very) large sums of money, that have  all led Taylor Swift to decide to re-record and re-release her first six albums with some bonus, previously unreleased period tracks. The latest replicant is the album Speak Now, originally released in 2010. This third album of Taylor Swift’s was a major milestone in her discography: aged just twenty, she wrote all the songs for the first time, whilst moving away from the country aesthetic that had made her famous. It was a very personal album, with a lot of diary-style love stories from the point of view of a young woman barely out of her teens. Thirteen years on, it’s clear why Taylor Swift would sing these songs again (to get her hands back on the revenue generated by her old albums). But how? With a fuller voice, and by tidying up some of the lyrics that might be found off-putting today. Hardcore fans and commentators may cry revisionism, but the rest of us will certainly be delighted to find this early album almost unchanged © Stéphane Deschamps

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

**Disc 2, tracks 12 & 13 are not available in Hi-Res 24-bit and must be downloaded individually in CD quality**In 2023, soul music tends to fall into two categories. On the one hand, there are the taxidermied revivalists, firmly rooted in the traditions of the sixties and seventies. These include bands from the fascinating Daptone label, such as Thee Sacred Souls and The Budos Band, as well as St. Paul & The Broken Bones, Mayer Hawthorne and Durand Jones & The Indications... On the other are artists who are much more firmly rooted in R&B, coiling sensually around more contemporary beats and productions, often influenced by hip hop. As we progress from nu-soul pioneers such as Erykah Badu and D'Angelo to the modern Jazmine Sullivan, not much retro flavour survives... yet Gabriels chooses neither camp! There’s no doubt that this has something to do with the atypical casting of the impressive trio. It is fronted by the charismatic Californian singer Jacob Lusk, who at the age of 35 has been putting in the work, singing backing vocals for Beck, Diana Ross, Gladys Knight and Nate Dogg, and appearing on American Idol. He is joined by the Brit Ryan Hope, a multi-instrumentalist and music video director, and the American Ari Balouzian, a classically trained musician. It's a combination that creates a fascinating mix of soul tradition and 100% contemporary sounds evident throughout their debut album Angels & Queens. Of course, the secret weapon of this exhilarating and invigorating Qobuzissime is its singer. Lusk can do anything! He can unleash incendiary falsettos in the style of Curtis Mayfield, which carry the gospel tradition loud and clear, or whisper like a heartbroken lover - the vocal storm is total! Behind these stunning pyrotechnics, he also delivers touching personal lyrics; he’s never overly maudlin when he goes into introspection, nor does he pontificate when tackling important themes. However, If his voice is such a magnet, it's also because Ryan Hope and Ari Balouzian have created the perfect setting for it to shine through. Tempered brass, the right amount of strings, well-balanced percussion, lively backing vocals, and meticulous arrangements; the enchantment is inescapable, both in the ballads and in the up-tempo compositions. A divine Qobuzissime! © Marc Zisman/Qobuz

On account of being everywhere, he may have felt like he was getting lost. Having become a major producer in the music industry, James Blake was seen on some of the biggest projects in the past few years: records as high-stakes as Travis Scott’s comeback album Utopia in July 2023, or Rosalía’s Motomami the year prior. The year before that, he had signed off on his biggest commercial success Friends That Break Your Heart, accentuated by the single “Coming Back” (featuring SZA). It was a good time for the Englishman to get back to his roots, having emerged at the beginning of the 2010s on the tail end of the short-lived wave of post-dubsteppers like Mount Kimbie and SBTRKT. This wave was spearheaded by labels such as Hessle Audio, Hemlock, or the Belgian R&S, which had released its acclaimed second EP CMYK in 2010.Now it's the return of James Blake 1.0, with winks to his origins in the English bass music scene, between the dubstep of the excellent “Loading” (with English singer Judie Tzuke, known for her hit “Stay with me till Dawn” in 1979), the grime single “Big Hammer,” and even “Fall Back,” paying homage to Burial’s muted beats. He goes even further back into the history of British dance music with the more techno “Tell Me,” with a beat that rises at full speed and a raving synth loop that vanishes into thin air. And what can be said about the celestial finale, “Playing Robots into Heaven,” a track that, against all odds, lives up to its name perfectly? Some pure, unadulterated James Blake, 100% all-natural! © Smaël Bouaici/Qobuz    

Proving that she's both fearless and capable of almost anything musically, Dolly Parton has taken her induction in the Rock & Roll Hall of Fame seriously and made a rock album built from a slew of favorite mainstream covers and several originals she wrote for the occasion. The respect she commands as a worldwide celebrity is reflected by the massive guest list whose vocal tracks were recorded elsewhere and mixed together in Nashville by producer Kent Wells and a veritable horde of engineers. Vocalists who make an appearance on the songs that they originally made famous include Sting ("Every Breath You Take"), Steve Perry ("Open Arms"), Elton John ("Don't Let the Sun Go Down"), Debbie Harry ("Heart of Glass"), and Paul McCartney and Ringo Starr ("Let It Be"). The voice of Lynyrd Skynyrd lead vocalist Ronnie Van Zant returns from the grave to sing a verse and duet on the choruses in the epic and appropriate closer, "Free Bird."  While Parton could have allowed a smile to peak out here or there on this massive undertaking, she plays it straight throughout.  Not surprisingly, women receive commendable attention as songwriters and guest players with performances by Ann Wilson, Parton's goddaughter Miley Cyrus, Stevie Nicks, Joan Jett, Lizzo and others. There are also flashes where Parton stops playing rock star. Her original "World on Fire" is a plea for unity and common sense to will out: "Now tell me what is truth/ Have we all lost sight/ Of common decency/ Of the wrong and right/ How do we heal this great divide/ Do we care enough to try?" What makes these 30 tracks work is that no one can sell it quite like Parton. While her voice strains on some  numbers—she's always been more of a careful interpreter than a furious belter—she's full of old pro wiles and is the soul of authenticity throughout; she gives her all to every number. In the rousing "(I Can't Get No) "Satisfaction" with P!nk and Brandy Carlile, Parton's between-line exhortations are heartfelt and spot on. Rather than arty re-interpretations or an empty marketing concept, this is an abundance of what Parton does best: feel the songs she's singing.  © Robert Baird/Qobuz

This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio. This was a busman's holiday for Evans, who was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while. The album kicks off with a jaunty version of Irving Berlin's "The Washington Twist" from the unsuccessful Mr. President, with Budwig sharing the honors with Evans as much as Manne. Manne spends most of his time driving Evans into more diminished and sharper playing than was usually Evans' wont. Another relatively unfamiliar Berlin work, "Let's Go Back to the Waltz," gives full reign to Evans' lyricism. The longest tune on the set is an audacious, almost lampooned version of "With a Song in My Heart" with light chordal phrasing that pretty much characterized much of the tone coming from this session. Listening to these three, it's clear that everyone was having a good time and simply enjoying being relieved of their duties with their regular combos, even if for just one day.© Dave Nathan /TiVo

Refreshing and free, Something to Give Each Other is the sound of a maturing artist taking a bold step into the spotlight. Three years after his last EP and a full half-decade since his previous full-length, Troye Sivan finally does what he came to do, delivering an effervescent dose of pop that is all-at-once endearing, explicit, and exciting. In addition to the horny lead single "Rush" -- one of the most memorable singles of 2023 -- Something... is packed with a wide range of gems that range from club-friendly dance anthems ("Got Me Started," "Silly," and "What's the Time Where You Are?") to romantic, midtempo sweetness ("In My Room," "One of Your Girls"). The young artist responsible for his earlier, more introspective bedroom pop material is still at work here, while that liberated spirit that began to "Bloom" in 2018 has taken the reins and successfully reached a place where he can be himself. As such, Something to Give Each Other succeeds because Sivan has been freed: to be who he wants to be and express that through his most engaging and addictive album to date.© Neil Z. Yeung /TiVo

Long known as the steady diplomat who kept together the oft on-the-brink alliances of Crosby, Stills, Nash, and Young—until he couldn't—Graham Nash sounds, at 81, feisty on his seventh solo album. There's an edgy urgency to the music and his famous high tenor on the vibrant "Right Now." "Now that I realize just how I am/ When all is said and done/ What a life I've lived ... Here I am/ Still living my life/ Right now/ Right now!" he declares. And his life is not one of easy chairs. "Golden Idol" takes on the politicians who turned the other cheek in the Capitol insurrection of January 6, 2021. "I know they're lying/ 'Cause their lips are moving," Nash sings. "They're trying to rewrite recent history/ When the MAGA tourists took the hill/ They will not stand up/ 'Cause they're bought and paid for." "Stars and Stripes" is jangling folk with excellent harmonies that finds Nash poking at the root of American divisiveness: "Sometimes I wonder why the world is like it is/ Frozen by the fear of change/ If we keep believing all the lies meant to divide us/ There's no one else that we can blame." And while he aims to keep moving forward, he's not exactly looking to reinvent himself. "A Better Life" is imbued with that easy Laurel Canyon familiarity on which he made his bones in America. It almost feels like a follow-up to "Teach Your Children" told from the other side, with Nash singing, "We're going to make it a better life/ Leave it for the kids ... one we can be proud of/ So at the end of the day, we can laugh and say that we left them a better life." Sweet and simple, "It Feels Like Home" is like an echo of "Our House." It's one of several songs written for his new wife of only a few years, along with "Love of Mine," a bit of a heartbreaker with high and lonesome harmonica accompanying an apology for hurt feelings. Sharply bowed strings lead the way for "I Watched It All Come Down," as the singer recalls, "I watched it all come down/ To a rock and roll parade … I watched it all come down/ To a paperweight at the business end of town/ Loaded up and loaded down/ It's a mess." Nash has said that the song is about the thrill of making music with David Crosby, Stephen Still, and Neil Young, but also sadness that they let emotions (and, let's be honest, substances) get in the way of them making more. And looking fondly back on another part of his history is "Buddy's Back," a sweet tribute both to Buddy Holly—complete with a "Peggy Sue"-inspired riff—and his old pal in the Hollies, Allan Clarke. © Shelly Ridenour/Qobuz

The "difficult second album" is one of the perennial rock & roll clichés, but few second albums ever were as difficult as Use Your Illusion. Not really conceived as a double album but impossible to separate as individual works, Use Your Illusion is a shining example of a suddenly successful band getting it all wrong and letting its ambitions run wild. Taking nearly three years to complete, the recording of the album was clearly difficult, and tensions between Slash, Izzy Stradlin, and Axl Rose are evident from the start. The two guitarists, particularly Stradlin, are trying to keep the group closer to its hard rock roots, but Rose has pretensions of being Queen and Elton John, which is particularly odd for a notoriously homophobic Midwestern boy. Conceivably, the two aspirations could have been divided between the two records, but instead they are just thrown into the blender -- it's just a coincidence that Use Your Illusion I is a harder-rocking record than II. Stradlin has a stronger presence on I, contributing three of the best songs -- "Dust n' Bones," "You Ain't the First," and "Double Talkin' Jive" -- which help keep the album in Stonesy Aerosmith territory. On the whole, the album is stronger than II, even though there's a fair amount of filler, including a dippy psychedelic collaboration with Alice Cooper and a song that takes its title from the Osmonds' biggest hit. But it also has two ambitious set pieces, "November Rain" and "Coma," which find Rose fulfilling his ambitions, as well as the ferocious, metallic "Perfect Crime" and the original version of the power ballad "Don't Cry." Still, it can be a chore to find the highlights on the record amid the overblown production and endless amounts of filler.© Stephen Thomas Erlewine /TiVo

Lake Geneva is not Lake Pontchartrain, and Montreux is certainly not New Orleans. But regularly, during the famous Montreux jazz festival, the two cities fall into step in a swaying dance. Especially when Dr. John is on stage, who has made it up there at least seven times, in 1986, 1993, 1995, 2004, 2007, 2011 and 2012. Why has Dr. John played so many times in Montreux? In part because he was a huge figure with constant high quality performances, as good in his last decade (he died in 2019) as in his previous ones. But also because the public never tired of him. Dr. John always emanated good vibes, with music like a course of vitamin therapy.This compilation of his Montreux concerts begins with four tracks recorded in 1986. Dr. John is alone at the piano, and in great shape. Caribbean-style boogie-woogie escapes from under his nimble wanders, cool and elegant, typical of New Orleans (and partly invented by Professor Longhair, to whom Dr. John pays tribute). On the other pieces played in the group, which includes a brass and rhythm section, he showcases radiant funk and indulgent jazz, the secrets to which he has always held close to his chest. All of Dr. John’s and New Orleans classics are there, from Let the Good Times Roll, Big Chief and Right Place, Wrong Time. Everyone who has seen Dr. John on stage, in Montreux or elsewhere, will find that this compilation offers the same energy of his concerts. What’s more, it won’t fail to bring a smile to your face. © Stéphane Deschamps/Qobuz

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

Brandy Clark has had a hand in so many legacy-boosting songs: "Mama's Broken Heart" (Miranda Lambert), "Better Dig Two" (The Band Perry), "Biscuits" (Kacey Musgraves), to name just a few. "I'm a songwriter who also sings," she has said, echoing the ridiculous humility of Karen Carpenter saying she was just a drummer who also happened to sing. Clark's voice is magic—clear and warm and stirring something ineffable, free of "American Idol" frills and trills. While she's made some great records in the past, it took putting herself into the producer hands of that other great Brandi (Carlile, who lately has the Midas touch) to really position her voice front and center in the way it deserves. Tender and beautiful, "Buried" adds only guitar as Clark sings "If you don't want me/ If you're beyond me," her voice rising on each "if," tentative and questioning. It's also an incredible storytelling tool on the spare "Ain't Enough Rocks," about two sisters killing an abuser("a wolf in daddy's clothing") and dumping him in the river. Inspired by a line from Forrest Gump and lit by Derek Trucks' slow-burn guitar, the song is chilling, not giddy like the Chicks' "Goodbye Earl" or celebratory like Hardy's "Wait in the Truck." Carlile has said that hearing these songs "took me back to the first time I heard Car Wheels on a Gravel Road" by Lucinda Wiliams, and it's an apt line to draw. You can hear it in tracks like harmonica-kissed "Best Ones" and heat-hazy "Come Back to Me," with its excellent country chorus. Elsewhere, there are shades of 1980s Rosanne Cash in the epic "Northwest" (an ode to Clark and Carlile's native Washington State) and smooth and easy "All Over Again," which gets dressed up with soulful Honkettes-style harmony. Frequent Carlile collaborators Lucius suavely harmonize on "Tell Her You Don't Love Her." And Clark and Carlile duet on "Dear Insecurity," a piano ballad that pulls out all the stops—weeping strings, heartbreaking melody—but finds Carlile appropriately reining in the knockout power of her own voice. Placing the two perfectly side by side, it's a stunner. And Clark, who knows her way around a bitingly clever verse, gets every little detail right on "She Smoked in the House," a funny yet heartfelt tribute to her grandmother: "She smoked in the house/ Burnt holes in the couch/ Lipstick-circled butts in the ashtray/ She saved in Folders cans/ Swore credit was a scam/ Bought everything at Sears on layaway ... And I hate cigarettes/ But I miss all that smoke." © Shelly Ridenour/Qobuz

In 2015, David Gilmour decided to undertake a series of concerts in the world’s oldest venues. A year later, the guitarist from Pink Floyd becomes the first artist since the gladiators in 79 AD to give a concert before an audience in Pompeii’s amphitheater! It was a trip back to the Italian city for him, as he had already performed there in 1971 during the shooting of Adrian Maben’s movie Pink Floyd: Live At Pompeii… In the shadow of the Vesuvius, David Gilmour plays in the more than legendary venue on July 7th and 8th, 2016 and revisits songs that have always been there his whole life, in solo as well as with Floyd. And let’s not forget the new interpretations of The Great Gig In The Sky from the album Dark Side Of The Moon, rarely performed in solo by Gilmour. © CM/Qobuz

He may be in his seventies now, but there’s still no stopping Bruce Springsteen. In 2019, without the E Street Band, the Boss released Western Stars, an astonishing album which would see him transformed into the Glen Campbell of the third millennium, detaching himself from the present day by choosing an attitude of innocence and nonchalance over resistance or defiance. Letter to You came along a year later, where he gathered his favorite band—or rather, what was left of it after the passing of Danny Federici (2008) and Clarence Clemons (2011)— in his home studio in New Jersey to record 12 songs live in just 5 days. It was a reunion among old friends, rooted firmly in the '70s.With Only the Strong Survive, released in autumn 2022, Bruce Springsteen goes 100% soul. There is no doubting the quality of the goods on this 21st studio album. Comprised exclusively of covers, the album seeks to "do justice" to the Great American Songbook of the sixties and seventies. It’s a tasty tracklist, taken from the five-star catalogs of Motown, Stax, Kenneth Gamble and Leon Huff’s Philadelphia International, alongside a few other soul and R&B labels. The Boss has always had good sense in this department, mixing such gold-plated legends as Jerry Butler, Arethra Franklin, the Temptations, Diana Ross with her Supremes, and forgotten geniuses like Tyrone Davis. Not everything is totally vintage, indeed, there’s the aptly named "Soul Days"—a nostalgic song by Jonnie Barnett recorded by Dobie Gray in 2000—and "When She Was My Girl," first recorded by the Four Tops in 1981. To strengthen his case, Springsteen even invited the great Sam Moore (of the legendary duo Sam & Dave). Overall, Only the Strong Survive radiates a sincere and infectious joy. This feeling dominates throughout, underpinned by a gang of powerful backing singers (Soozie Tyrell, Lisa Lowell, Michelle Moore, Curtis King Jr., Dennis Collins and Fonzi Thornton). It's definitely a celebration. Whenever the Boss does add a personal touch—putting the spotlight on his own voice, for example—he never tries to transform these gems of the past into Born to Run-style stadium anthems. His approach is perhaps even a little educational, given that many of his younger fans will be discovering some of these songs for the first time. After all, he was a young fan himself once upon a time: a teenager glued to his AM radio, sputtering out wondrous "made in Motown"singles all night long. © Marc Zisman/Qobuz

Those who come from Louisiana always have a good ear for music. Always! Soul, blues, zydeco, rock, jazz, R&B, funk, pop or country, no one native to the New Orleans area worries about labels or genres. There is only good music and bad music. Period. Brittany Guerin, known as Britti, is the latest proof of this. Born in Baton Rouge, the singer, discovered by Dan Auerbach of The Black Keys, masters every style that resounds within the unique groove of the American South. And as Britti dresses her songs in a certain classicism, she is often reminiscent of classic soul singers that have come before her. Hints of her idols Diana Ross (“Save Me”) and Dolly Parton (“Keep Running”), as well as Norah Jones, Erykah Badu and Amy Winehouse (albeit less dreamy) can be heard on her debut album Hello, I’m Britti., a title that clearly references Dolly Parton’s first album from 1967, Hello, I’m Dolly… But even though the influence is apparent, it never limits Britti’s own inspiration, style or personality. An expert in 20th-century equipment and vintage sounds, Auerbach brings the perfect production, with just the right amount of sepia. He was clearly the one who assembled a team of studio legends around the singer, including bassist Nick Movshon (Amy Winehouse, Wu Tang Clan and a whole selection of albums for the label Daptone), guitarist Tom Bukovac (Sheryl Crow, Stevie Nicks), and Mike Rojas (Ricky Skaggs, Yola, Miranda Lambert), a wizard on the keys. Supported by this glittering cast,  Hello, I’m Britti. navigates soul vignettes, country pop interludes and R&B daydreams with immense ease and a certain class. Building a solid bridge between New Orleans and Nashville, this Qobuzissime has already declared itself one of the great albums of 2024. © Marc Zisman/Qobuz

Perhaps a bit more conscious of contemporary soul trends than her previous Philips albums, this is still very characteristic of her mid-'60s work in its eclectic mix of jazz, pop, soul, and some blues and gospel. Hal Mooney directs some large band arrangements for the material on this LP without submerging Simone's essential strengths. The more serious and introspective material is more memorable than the good-natured pop selections here. The highlights are her energetic vocal rendition of the Oscar Brown/Nat Adderley composition "Work Song" and her spiritual composition "Come Ye," on which Simone's inspirational vocals are backed by nothing other than minimal percussion.© Richie Unterberger /TiVo