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Paul Simon
Paul Simon
Pop/Rock - Released January 24, 1972 | Legacy Recordings
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The Qobuz Ideal Discography
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Would Ya Like More Scratchin'
Malcolm McLaren
Hip-Hop/Rap - Released January 1, 1984 | UMC (Universal Music Catalogue)
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Train to Stockholm / Parading Like a Hobo
Boletaire
Metal - Released July 28, 2023 | Boletaire
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I Wanna Be Like You
Florian Noack
Classical - Released March 8, 2024 | La Dolce Volta
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Booklet
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Diapason d'or -
Choc de Classica
Pianist Florian Noack has a gift for the humorous and the unexpected, shown here in the double meaning of the album title, which refers both to the album's final track (originally sung by Louis Prima in The Jungle Book) and to the contents, consisting of transcriptions. Noack's humorous spirit also shows in the sensitivity of his reading of Prokofiev's witty Symphony No. 1 in D major, Op. 25 ("Classical"). Ultimately, though, Noack is after something more than humor here. He wants to recapture some of the spirit of the golden-age piano virtuoso in an age where the social position of such pianists has largely disappeared, Lang Lang notwithstanding. Transcriptions and paraphrases were part of the stock-in-trade of the late 19th century and early 20th century virtuoso, who aimed not only at keyboard heroics but also at a theatrical sense, an impression of total command not only of the piano but also of its repertory. Noack seeks to surprise, including a selection of Renaissance dances by Tylman Susato, and he succeeds. The program is artfully put together, with a sense of not knowing what is coming next. Further, the transcriptions, all his own, are not what one might expect. In the dense Bach Concerto for four harpsichords in A minor, BWV 1065, Noack strips the texture down. The overall result is a fun sense of mystery and a thoroughly enjoyable outing that marks a new direction from pianist Noack.© James Manheim /TiVo
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Birds On a Wire
Rosemary Standley, Dom La Nena, Birds On a Wire
Alternative & Indie - Released March 15, 2014 | Air Rytmo
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Trick Me Like A Girl
The Wealthy Hobos
Rock - Released March 10, 2023 | Indépendant
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Blue & Lonesome
The Rolling Stones
Rock - Released December 2, 2016 | Polydor Records
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Blue & Lonesome is the first studio album in over a decade from The Rolling Stones. Recorded in just three days in London, England, Blue & Lonesome takes the band back to their roots and the passion for blues music which has always been at the heart and soul of the Rolling Stones. Blue & Lonesome is available in various formats and will be released on December 2nd by Polydor Records. The album was recorded over the course of just three short days in December 2015 at British Grove Studios in West London, just a stone’s throw from Richmond and Eel Pie Island where the Stones started out as a young blues band playing pubs and clubs. Their approach to the album was that it should be spontaneous and played live in the studio without overdubs. The band – Mick Jagger (vocals & harp), Keith Richards (guitar), Charlie Watts (drums), and Ronnie Wood (guitar) were joined by their long time touring sidemen Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (keyboards) and, for two of the twelve tracks, by old friend Eric Clapton, who happened to be in the next studio making his own album. Blue & Lonesome sees the Rolling Stones tipping their hats to their early days as a blues band when they played the music of Jimmy Reed, Willie Dixon, Eddie Taylor, Little Walter and Howlin’ Wolf – artists whose songs are featured on this album. The tracks are – ‘Just Your Fool’, ‘Commit A Crime’, ‘Blue And Lonesome’, ‘All Of Your Love’, ‘I Gotta Go’, ‘Everybody Knows About My Good Thing’, ‘Ride ‘Em On Down’, ‘Hate To See You Go’, ‘Hoo Doo Blues’, ‘Little Rain’, ‘Just Like I Treat You’, ‘I Can’t Quit You Baby’. “This album is manifest testament to the purity of their love for making music, and the blues is, for the Stones, the fountainhead of everything they do.” - Don Was, Co-Producer of Blue & Lonesome. - @rollingstones.com
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Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Yves Tumor
Alternative & Indie - Released March 17, 2023 | Warp Records
Distinctions
Pitchfork: Best New Music
Following their 2020 record Heaven to a Tortured Mind, which marked Yves Tumor as a modern-day rockstar, they now return with their fourth studio album Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds). Produced by Noah Goldstein (Frank Ocean, Rosalía) and mixed by Alan Moulder (My Bloody Valentine, Nine Inch Nails), the album blends elements of rock, psychedelia, electronica, pop, and grooves with a razor-sharp edge. Tumor is the epitome of versatility, the origins of which are clear when they cited their influences for this album in an interview with Courtney Love. "I grew up with a lot of Motown from my father, so I'd say the Temptations … a lot of classic rock: Kansas, Led Zeppelin, MC5. I listen to a lot of dance music. From a lot of house, to hard, abrasive techno. I even like noise, just ambient noise music." Teaching themselves music production to counter the boredom of growing up in Tennessee, Tumor's rock outlaw personality is ever-present across the sonic landscapes they create: the thudding baseline and shrill screams of "God is a Circle," the far more psychedelic groove of "Lovely Sewer," the classic rock of "Meteora Blues." There's also the celestial choir of "Interlude" and the tunefulness of the almost pop-punk track "Echolalia." The songs are catchy enough to be pleasurable, but not predictable enough to be mainstream. So while that first listen of Hot Between Worlds is thoroughly enjoyable, it is on the second listen that you truly begin to piece together the puzzle that is Yves Tumor. © Jessica Porter-Langson / Qobuz
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The Montreux Years
Muddy Waters
Blues - Released August 27, 2021 | BMG Rights Management (UK) Ltd
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The first time Claude Nobs, the future founder of the Montreux Festival, went to the United States was in 1965 to Chicago, where as soon as he got off the plane, he found himself immersed in a tour of the local blues clubs. His night ended in a daze, after concerts by Howlin' Wolf and Muddy Waters with shots of whisky served by Willie Dixon. A great moment in his personal history, a memory that must have resurfaced a few years later when the stages of Montreux were honoured by the presence of Muddy Waters in 1972, 1974 and 1977. This best-of selection of the three concerts in 16 tracks begins sublimely with the unarguable Nobody Know Chicago Like I Do. The father of modern Chicago blues, he is, as so often, at his best accompanied by the cream of musical talent (Buddy Guy, Junior Wells, Bill Wyman, Pinetop Perkins...), faithful to the style he created twenty years earlier. Muddy Waters performs all his hits (Mannish Boy, I’m Ready, Got My Mojo Workin’, Rollin’ And Tumblin’, I’m Ready…) and other lesser-known numbers with all the class of an old cat that has not lost any of its sensual suppleness nor its wild instinct. Muddy Waters must have sung these songs a thousand times, but he still manages to give them a magical dimension. The interpretation is profound, the recording perfect in its clarity and density: this monster compilation of the Montreux years goes immediately to the top 5 of Muddy Waters' best live albums. © Stéphane Deschamps/Qobuz
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The Gambler
Kenny Rogers
Country - Released January 1, 1978 | Capitol Nashville
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Kenny Rogers took a bit of a chance in releasing this loosly based concept album at the time, but boy, did it pay off! Sales for the album went through the roof, as the title track and "She Believes In Me" became pop crossover hits, with the latter reaching the pop Top 10. Later, "The Gambler" was turned into a string of made-for-television movies.© James Chrispell /TiVo
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Bossa Nova Covers
Bossa Nova Covers
World - Released May 8, 2020 | Cupol
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Songs Of A Dead Dreamer
DJ Spooky
Drum & Bass - Released March 26, 1996 | Synchronic
Distinctions
The Qobuz Ideal Discography
Arguably but understandably, the amount of hype and academic discussion surrounding DJ Spooky's work has often obscured his gifts and abilities. Strip away everything, even his own detailed essays and reflections on his work that form this disc's liner notes, and what's left is creative and mysterious work that stands up well on its own merits. Not as sui generis as some would have him be -- his roots in everything from avant-garde classical music to the groundbreaking work of Jamaican dub are clear -- he's a marvelous synthesizer of varying trends, as Songs of a Dead Dreamer demonstrates throughout. The "illbient" tag is one of the more facile labels applied to his work; the intent is there (uneasy hip-hop rhythms in ambient space), but not the true range of what he is capable of. Instead, Songs for a Dead Dreamer is more a consistent and total exploration of sound and atmosphere, as much indebted to the effect of film soundtracks as it is to getting a good groove and beat on, and more. "Juba," with its haunting string sample floating through the hissing, low mix, or the distinctly dub-tinged "Anansi Abstrakt," one of many such tracks on the album showing that touch, are but two highlights of many. His DJing skills themselves aren't as prominent as are his abilities to arrange and create overall pieces, but when he lets the former through more, as with the key central scratch on "Galactic Funk (Tau Ceti Mix)," it's all for the service of further improving the song. Said song also has some righteous synclavier action, confirming that it's not just music to relax to.
© Ned Raggett /TiVo
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What Makes You Country
Luke Bryan
Country - Released December 8, 2017 | Capitol Records Nashville
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"People talking about what is and what ain't country," sings Luke Bryan at the opening of What Makes You Country. He poses this at a time when the contours of mainstream country are shifting, a change that coincides with Bryan turning from an upstart into a veteran. During his decade of dominance, the sound of mainstream modern country was largely the sound of Luke Bryan: cheerful odes to country, drinking, and love. Other bro-country acts had a rowdier edge, but Bryan's ace in the hole was his friendliness. It not only made him seem like the guy next door, it also disguised how he slyly followed fashion, incorporating bits of current trends into his singles. On What Makes You Country, he's not quite so slick. Covered in a shiny electronic gloss, the album flits between slow-burners and mellow pop. While he takes the occasional detour for a song that could be strummed on a front porch -- "Most People Are Good" could fit on any of his records -- the cumulative effect of all the rhythmic loops and electronic flair on the album is that Bryan seems consumed with retaining his status as a hitmaker. Matters aren't helped by the fact that he doesn't seem particularly interested in the party songs; he wanders through the amiable "Drinking Again" as if he doesn't want another beer, and doesn't seem much interested in what makes you country or not. When it comes to the ballads, though, or the numerous laid-back pop numbers, Bryan demonstrates that familiar, friendly charm, and that helps sell productions that are otherwise trying a little too hard to make him sound a little less cozy.© Stephen Thomas Erlewine /TiVo
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Reflections
B.B. King
Blues - Released January 1, 2022 | Geffen*
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B.B. King was 77 years old when Reflections was released, which perhaps entitled him to reflect back on the song standards the album contained. Despite advancing age, King had already been unusually busy on the recording front for a septuagenarian, turning out the gold-selling duets album Deuces Wild in 1997, Blues on the Bayou in 1998, Let the Good Times Roll: The Music of Louis Jordan in 1999, the double-platinum Riding With the King with Eric Clapton and Makin' Love Is Good for You in 2000, and the seasonal recording A Christmas Celebration of Hope in 2002. For Reflections, he again worked with Simon Climie, who produced Riding With the King, and collaborated with a session band including such notables as Joe Sample, Nathan East, and Doyle Bramhall II. The songs ranged from pop evergreens like "I'll String Along With You" and "For Sentimental Reasons" to blues favorites such as Lonnie Johnson's "Tomorrow Night," with oddities like "Always on My Mind" thrown in and even a couple of remakes of the earlier King songs "Word of Honor" and "Neighborhood Affair." The arrangements, which included horn and string parts, left room for King's distinctive blues guitar work, but really supported his always expressive voice. The result was a confident, easygoing album that stylistically could have been made in 1953 as easily as 2003. Blues purists and aficionados of blues guitar would find it only partially satisfying, but it reflected the breadth of musical taste of an artist who always played the blues but never restricted himself only to blues music or blues fans.© William Ruhlmann /TiVo
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Tales of the Inexpressible
Shpongle
Electronic - Released July 9, 2001 | Twisted Records Ltd
With Tales of the Inexpressible, Simon Posford and Raja Ram widened their Eastern-influenced ambient sound to incorporate stronger samples and a wry, complex production psychology. The effect was a lot like the Orb's "Earth (Gaia)" or the work of Future Sound of London recorded with Cydonia's Aki Omori, encouraging dub and cartoon effects to make nests inside a slick environmental vibe. Highlight "A New Way to Say 'Hooray!'" was complicated downtempo without resorting to jazz, and Raja Ram's flute work was everywhere, liquid-like and frequently impressive.
© Dean Carlson /TiVo
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