Your basket is empty

Categories:
Narrow my search:

Results 1 to 20 out of a total of 6254
From
HI-RES$18.09
CD$15.69

Before The Flood

Bob Dylan

Pop/Rock - Released June 20, 1974 | Columbia - Legacy

Hi-Res
From
CD$23.49

The Essential Bob Dylan

Bob Dylan

Rock - Released October 31, 2000 | Columbia

A double-disc set released for the holiday season of 2000, The Essential Bob Dylan is a fine choice for the casual listener that just wants all the songs they know on one collection -- it's Dylan's equivalent of Beatles One. Outside of the remastering and the previously non-LP (and very good) "Things Have Changed," there's nothing here for collectors, but, then again, that's not who this was designed for. This collection is for the listener that wants "Blowin' in the Wind," "Like a Rolling Stone," "All Along the Watchtower," "Quinn the Eskimo," "Lay Lady Lay," and "Tangled Up in Blue" in one tidy place. Yes, it's easy to find great songs missing, but for those casual fans, and for those looking for a fairly comprehensive yet concise entry point, The Essential Bob Dylan comes close to living up to its title.© Stephen Thomas Erlewine /TiVo
From
CD$15.69

MTV Unplugged

Bob Dylan

Pop/Rock - Released April 25, 1995 | Columbia

This show, taped for MTV, finds Dylan turning in an 11-song set, with eight of the songs dating from his 1963-1967 heyday, including such standards as "The Times They Are A-Changin'" and "Like a Rolling Stone." ("John Brown," a powerful antiwar song from 1963, had not been released on a Dylan album previously.) The '70s are represented by "Knockin' on Heaven's Door," and the '80s by "Shooting Star" and "Dignity" (a trunk song, the studio version of which had emerged only the previous November on Bob Dylan's Greatest Hits, Vol. 3). Dylan, accompanied by a competent five-piece band, approaches his material in a gentler fashion than on some of the originals -- "The Times They Are A-Changin'" and "With God on Our Side," for example, seem sadder and less defiant than they did back in 1964. Otherwise, unlike some other Unplugged performances, this one doesn't offer a noticeably different view of the artist's work. But then, Dylan has been unplugged for much of his career, anyway.© William Ruhlmann /TiVo
From
CD$15.09

Pushin' Against A Stone

Valerie June

Folk/Americana - Released January 1, 2013 | Concord Records

From
HI-RES$3.28
CD$2.63

KINGDOM POETRY WISDOM SCRIPTURE AND SONG #3 CITY ON A HILL

KINGDOM POETRY SCRIPTURE WISDOM AND SONG

Miscellaneous - Released June 2, 2022 | Elliston Stone Music

Hi-Res
From
CD$16.59

The #1's

The Supremes

Soul - Released January 1, 2003 | UTV - Motown

Surprisingly, very few artists can float a digital-age collection of number one singles without resorting to trickery involving foreign countries or obscure charts. The Beatles had little trouble (The Beatles 1) and Elvis Presley managed both a disc of number ones (Elvis: 30 #1 Hits) and one of number twos (2nd to None), but Michael Jackson bent the rules so far that calling his disc Number Ones is tantamount to consumer fraud. Additionally, a collection of number one singles may not be the best representation of an artist's career; the Elvis volume included nothing from his Sun years, and the Beatles' set skipped "Strawberry Fields Forever." The #1's, Motown's collection of chart-toppers by Diana Ross & the Supremes, fares much better. It benefits from two Supremes characteristics: as a pop group through and through, their biggest hits were often their best songs, and, with the help of the solo Diana Ross, they spent a long time on the charts (nearly 20 years separates the Supremes' debut at the top from Ross' last number one single). While Motown's separate volumes on Diana Ross and the Supremes (in the Ultimate Collection series) remain the best source for a single-disc picture of either act, The #1's works remarkably well. It includes 19 number one pop singles (13 from the group, six from the solo Ross), plus various number ones on the R&B and dance charts, and there aren't any glaring omissions. Granted, fans of early Motown can't live without the girl-group chestnuts "Buttered Popcorn" and "Your Heart Belongs to Me," while those who enjoy latter-day Ross won't find "One More Chance" or "Why Do Fools Fall in Love?" -- but of course, this collection wasn't created with them in mind. For the group who recorded more hit singles during the '60s than any other act except the Beatles, and for one of the reigning solo artists of the '70s, The #1's is a worthy tribute.© John Bush /TiVo
From
HI-RES$15.74
CD$12.59

live from the archives * BOOTLEG JUNE 15, 2000

Brian Blade & The Fellowship Band

Jazz - Released October 14, 2022 | Stoner Hill Records and Press

Hi-Res
From
HI-RES$39.99
CD$34.59

Funky Nothingness

Frank Zappa

Rock - Released June 30, 2023 | Frank Zappa Catalog

Hi-Res Booklet
"The chemistry between that group was intense -- even their longest, most meandering jams are worth savoring for one reason or another."© TiVo
From
HI-RES$16.59
CD$14.39

Letter(s) to Erik Satie

Bertrand Chamayou

Classical - Released September 1, 2023 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
John Cage's admiration for the music of Erik Satie is well known; Cage organized a Satie festival early in his career, and even casual listeners will detect a spirit of experimentation and a certain irreverence common to the two. Perhaps no one has explored the relationship in greater detail than pianist Bertrand Chamayou on this 2023 release, which hit classical best-seller lists in the autumn of that year. There are several real finds here. One is a rare Cage piece, All Sides of the Small Stone, that was actually dedicated to Satie's memory, and another is a work by Satie specialist James Tenney, Three Pages in the Shape of a Pear (In Celebration of Erik Satie), which suggests lines along which this compositional axis might be extended. In the main body of the program, Chamayou balances Satie and Cage nicely, picking some Cage works that sound quite a bit like Satie and tying the development of the prepared piano closely to these. This is a fresh interpretation. The overall effect has both charm and humor, qualities that aren't always associated with Cage. However, after hearing this album, listeners will feel that maybe they should be. Chamayou has, up to now, been better known for mainstream French and German repertory, but this release reveals him as a talented interpreter of 20th century music as well.© James Manheim /TiVo
From
HI-RES$24.79
CD$21.49

Hotel California

Eagles

Rock - Released December 8, 1976 | Rhino - Elektra

Hi-Res Distinctions The Qobuz Ideal Discography
Released in 1976, this fifth album from the Eagles would remain their greatest success. Opened by the eponymous hit single, Hotel California marked a turning point in the career of the American group. Bernie Leadon, the most country-orientated band member, jumped ship and Joe Walsh came on board. For his part, Don Henley also seemed to take more control the business. The result was a much more mainstream record than the album’s predecessors with truly enveloping sounds at the peak of their tracks. Everything is XXL here! The production, the solos, the melodies… everything! A masterpiece of classic rock, this is above all a work that crosses decades and makes the crowds go wild. Glenn Frey, Don Felder, Joe Walsh, Randy Meisner and Don Henley would never again find again such impressive complicity and efficiency… Published in November 2017, this 40th anniversary edition offers an original remastered album as well as an energetic Californian live session recorded at The Forum in Inglewood, October 1976. © CM/Qobuz
From
CD$11.99

...Like Clockwork

Queens Of The Stone Age

Alternative & Indie - Released June 3, 2013 | Matador

From
HI-RES$15.09
CD$13.09

But Who's Gonna Play the Melody?

Christian McBride

Jazz - Released March 22, 2024 | Mack Avenue Records

Hi-Res
A bassist vital to the US jazz scene since the 90’s – partner of choice for musicians as notable as Joe Henderson, Joshua Redman, Roy Hargrove, and Pat Metheny – Christian McBride, alongside his frequent work as a sideman (on over 300 records to date), leads a rich career as a frontman, expanding upon his orchestral formations (from trios to big band) in varying registers. He encompasses a large palette of styles that are always deeply anchored in the foundations of traditional African-American jazz. This new record conceived and recorded in partnership with another bass virtuoso, Edgar Meyer, himself exploring other idioms and imagining other landscapes (from bluegrass to “crossover” classical), indisputably introduces a new perspective to the bassist’s rich discography.Intended to feel like a conversation between friends, each speaking in a relaxed, playful tone, offering support through active listening in order for each to be able to “play their own melody” with full peace and security of mind, But Who’s Gonna Play the Melody? sounds like a charming and timeless departure into a world entirely dedicated to the bass. Applying their great virtuosity towards each melody, without ever veering into competitive territory, the two musicians, with an irresistibly natural sense of groove, never cease to seduce the listener through a repertoire that draws not only from jazz, but also from folk, classical music, bluegrass, and funk, making room for the kind of collective memory that goes beyond styles and generations. An album with no pretense other than the pure pleasure of playing music – authentically all-encompassing in the best possible way. © Stéphane Ollivier/Qobuz
From
HI-RES$19.89
CD$17.19

Venice

Anastasia Kobekina

Classical - Released February 2, 2024 | Sony Classical

Hi-Res Booklet
At first glance, one might confuse the virtuoso cellist Angelina Kobekina’s latest album, Venice, as a classical “greatest hits” collection—a packaging of snippets taken from previous recordings released when a record company’s star artist hasn’t recorded enough fresh material. This recording is anything but that. Venice is a strikingly original and personal concept with Kobekina’s love for the titular city as the underlying theme. Kobekina’s original compositions are solo cello pieces, while those of Bach, Britten, Monteverdi, and Vivaldi feature her unique accompaniments. Some depart significantly from the originals, such as a 20th-Century jazz arrangement of a Vivaldi concerto. While some traditionally-minded classical listeners may object to the recomposing of works by the old masters, what must be kept in mind is that Venice is not the typical classical release in recital format, but a creation in which the artist takes the listener along on her own highly intimate journey. Some listeners may find themselves getting lost but the wordy “roadmap” provided in the booklet or even the notes by Kobekina herself may likely be of little assistance.  Rather than trying to figure out exactly what the artist is expressing, the best approach is to listen to Venice from beginning to end, with no interruptions or preconceived notions. Listeners may love it or hate it, but one thing on which all may agree: Anastasia Kobekina is an extraordinary cellist, artist, and musician. ©Anthony Fountain/Qobuz
From
HI-RES$18.09
CD$15.69

Blonde On Blonde

Bob Dylan

Rock - Released May 16, 1966 | Columbia

Hi-Res Distinctions The Qobuz Ideal Discography
Reference album, rock monument, pop masterpiece.
From
HI-RES$31.59
CD$27.09

My Generation

The Who

Rock - Released January 1, 1965 | Geffen

Hi-Res
An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record. Pete Townshend's exhilarating chord crunches and guitar distortions threaten to leap off the grooves on "My Generation" and "Out in the Street"; Keith Moon attacks the drums with a lightning, ruthless finesse throughout. Some "Maximum R&B" influence lingered in the two James Brown covers, but much of Townshend's original material fused Beatlesque hooks and power chords with anthemic mod lyrics, with "The Good's Gone," "Much Too Much," "La La La Lies," and especially "The Kids Are Alright" being highlights. "A Legal Matter" hinted at more ambitious lyrical concerns, and "The Ox" was instrumental mayhem that pushed the envelope of 1965 amplification with its guitar feedback and nonstop crashing drum rolls. While the execution was sometimes crude, and the songwriting not as sophisticated as it would shortly become, the Who never surpassed the pure energy level of this record.© Richie Unterberger /TiVo
From
HI-RES$30.09
CD$26.09

Shake Your Money Maker

The Black Crowes

Rock - Released March 17, 2023 | Silver Arrow Records

Hi-Res
From
HI-RES$21.99
CD$16.99

I Wanna Be Like You

Florian Noack

Classical - Released March 8, 2024 | La Dolce Volta

Hi-Res Booklet Distinctions 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
From
HI-RES$18.09
CD$15.69

Rimsky-Korsakov: Schéhérazade, Op. 35 & Stravinsky: Le chant du rossignol - Sony Classical Originals

Fritz Reiner

Classical - Released January 12, 2015 | RCA Red Seal

Hi-Res
From
CD$11.99

Queens of the Stone Age

Queens Of The Stone Age

Rock - Released September 22, 1998 | Matador

Hearing Queens of the Stone Age's long out of print debut many years after its initial 1998 release does pack the shock of revelation: Josh Homme’s tightly wound blueprint for QOTSA was in place from the very beginning. Where Homme’s previous outfit, Kyuss, were all about expansion, Queens of the Stone Age were about compression, Homme stripping stoner rock to its essence -- riffs as heavy as granite, solos as spacy as the desert sky. The songs on Queens of the Stone Age are shorter, pulled into focus by grinding fuzz riffs that anchor the proceedings even when the instrumental sections begin to drift into the ether. Another distinguishing factor in Queens of the Stone Age is that Homme writes full-blown songs -- pushing their two best songs, “Regular John” and “Avon,” to the front, giving them room to float later on -- so the album isn’t just about instrumental interaction, but the crucial difference is that this isn’t music solely for disaffected males. There is sex and swagger to Queens of the Stone Age, there’s a swing to the rhythms, there’s a darkly enveloping carnal menace buttressed by muscle and lust that keeps the album from being an insular stoner headpiece. Certainly, there’s enough sinewy force to suggest the mighty brawn of Rated R and Songs for the Deaf; Homme retained enough of the desert spaciness of Kyuss to give Queens of the Stone Age an otherworldly shimmer, a hazy quality he later abandoned for aggressive precision, so this winds up as a unique record in his catalog, a place where you can hear Homme’s past and future intertwining.© Stephen Thomas Erlewine /TiVo