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nublues
Joel Ross
Jazz - Released February 9, 2024 | Blue Note Records
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First discovered alongside musicians from the rich music scene of his hometown Chicago (from trumpet player Marquis Hill to avant-garde drummer Makaya McCraven…), vibraphonist Joel Ross, now based in Brooklyn, has established himself over the last few years as one of the most talented African American musicians among the swarm of young talent showcased by the label Blue Note. After KingMaker (2019), Who Are You? (2020), and The Parable of the Poet (2022), Joel Ross now brings us Nublues, a fourth record as a leader for the label, which is as stimulating as it is polished. At the head of a small, flamboyant ensemble, made up of his long-time collaborator Immanuel Wilkins on alto sax, his partner Gabrielle Garo on flute (on three tracks), and an airy rhythm section (Jeremy Corren at the piano, Kanoa Mendenhall on bass, and Jeremy Dutton on drums), Joel Ross embarks upon a passionate exploration of blues in all its forms. Mixing a few great modern jazz classics (Thelonious Monk's Evidence, John Coltrane's Equinox and Central Park West) with a series of original compositions, revisiting not only the forms borrowed from blues history but also its "spirit," and with skillful interpretation of its many melancholic moods, the ensemble brings together the entire esthetic spectrum of contemporary modern jazz (from neo post-bop to post-free, as well as meditative modal jazz) in a discourse that is at once sophisticated and very fluid. In doing so they produce an album of stunning esthetic coherence, simultaneously very free and very formal – widely accessible, but without sacrificing any of its great esthetic and expressive ambition. © Stéphane Ollivier/Qobuz
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Hill Country Love
Cedric Burnside
Blues - Released April 5, 2024 | Provogue
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Dream with Dean
Dean Martin
Crooners - Released August 4, 1964 | Legacy Recordings
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Oochya!
Stereophonics
Alternative & Indie - Released March 4, 2022 | Ignition Records Ltd
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They’re back again! Stereophonics are back with their new album Oochya!, their 12th full-length album in 25 years. This Welsh band have no need to worry about empty stadiums or being taken off the airwaves, as they’re still charging their way through the British rock landscape with the same energy they’ve always had. There’s a lot of fuel left in this band’s tank for a while yet. Their longevity is, in the most part, owed to their tried and tested formula: fast, catchy rock melodies, simple choruses that stick in your head, and the stadium-busting energy of frontman Kelly Jones. The amazing Hanging on your Hinges opens the album with its fat riff, Forever hooks you with its well-defined loops and youthful 90’s momentum, Seen that Look Before sounds like a soundtrack from an 80s romcom, while Jack in a Box offers an intimate banjo ballad. A well-conceived album with the classic Stereophonics sound that’s always seamlessly executed. © Charlotte Saintoin/Qobuz
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Sweet Justice
Tkay Maidza
Hip-Hop/Rap - Released November 3, 2023 | 4AD
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Now 10 years into a successful hip-hop career, it's hard to believe that Zimbabwe-born Australian singer, songwriter and rapper Tkay Maidza almost became a professional tennis player. This seductive sophomore album, infused with themes of healing and perseverance, arrives six years after her self-titled debut, and follows the Last Year Was Weird EP trilogy, which acted as a form of physical, mental and spiritual repositioning for Maidza. Now based in L.A., she puts a twist on the classic break-up album. "It was every type of break-up, but also breaking up with the old version of myself," she has had about her journey to discover independence with a sound that is completely authentic to herself. Sweet Justice delivers Maidza's signature witty lyrics and empowering message but radiates a new kind of confidence. "I took time to really hone my skills, become a better rapper, singer, and that allowed me to have this bucket list of producers that I wanted to work with," she explains, and crosses the likes of Flume ("Silent Assassin") and Kaytranada ("Ghost!", "Our Way") off that list. She also collaborated with singers Amber Mark and Lolo Zouaï on "Out of Luck," and reunites with Duckwrth on "Gone to the West," a playful track that has fun with a sample from Bernard Wright's "Spinnin'," also heard on Skee Lo's "I Wish." The album is unafraid and experimental, flowing from aggressive rap on dance tracks like "Silent Assassin" to the dreamier, more R&B-influenced "WASP" to '90s pop throwbacks in songs such as "Won One," that champion the resilience of women in the music industry. Its atmosphere and infectiousness expand Maidza's rich, edgy universe, which she has carefully crafted with musical collaborators and visual artists alike. Sweet Justice serves an ace that proves revenge, or at least karma, really is a dish best served cold. © Ciara Rivers/Qobuz
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Freetown Sound
Blood Orange
R&B - Released June 28, 2016 | Domino Recording Co
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4F de Télérama -
Pitchfork: Best New Music
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The Message
The Stanley Clarke Band
Jazz - Released June 29, 2018 | Mack Avenue Records
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45 years after his first album, Stanley Clarke shows that he is still an untouchable virtuoso on the bass, electric and acoustic guitar, with an artistic vision that is completely his own. Supported by friends as varied as rapper Doug E. Fresh and trumpet player Mark Isham and accompanied by a band featuring Cameron Graves and Beka Gochiashvili on keyboards and Mike Mitchell on drums, the bass ace unfurls all his know-how on this record, whether he’s throwing himself into a torrid funky swerve or revisiting a Bach suite! There’s an impressive eclecticism throughout, though this former member of Return to Forever never ceases to be himself. What’s more, Stanley Clarke doesn't forget to pay tribute to some recently deceased colleagues: George Duke, Prince, Leon "Ndugu" Chancler, Darryl Brown, Tom Petty, Chuck Berry, Larry Coryell and Al Jarreau. © Clotilde Maréchal/Qobuz
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93 'til Infinity
Souls Of Mischief
Hip-Hop/Rap - Released September 28, 1993 | Jive
Distinctions
The Qobuz Ideal Discography
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Return to the 36 Chambers: The Dirty Version
Ol Dirty Bastard
Hip-Hop/Rap - Released March 28, 1995 | Rhino - Elektra
As a member of the Wu-Tang Clan, Ol' Dirty Bastard's bizarre, free-form rants added both comic relief and a dangerous unpredictability to the group's chemistry. ODB's RZA-produced solo debut Return to the 36 Chambers stretches his schtick over a full album, which if anything makes him sound even more unbalanced. Long before the album ends, it's clear that ODB has emptied his bag of tricks -- loose, off-the-beat raps that sometimes don't even rhyme, unbelievably graphic vulgarity, gonzo off-key warbling (which sounds a little like Biz Markie as a mental patient), and general goofing off. Yet within that role as hardcore rap's clown prince of psychosis, ODB is pretty damned entertaining. His leaps in association are often as disturbing as they are funny, whether they're couched in scatological detail or not; they certainly don't make his widely publicized erratic behavior seem at all surprising. And, despite the unstructured feel dominating most of the album, there are a fair share of hooks, and two absolutely killer singles in "Shimmy Shimmy Ya" and "Brooklyn Zoo." Certainly, there's no reason for the album to be as long as it is, considering the dull filler toward the end. But, even though Return to the 36 Chambers might not be the most earth-shattering piece of the Wu-Tang puzzle, it's an infectious party record which proves that, despite his limitations, Ol' Dirty Bastard has the charisma to carry an album on his own.© Steve Huey /TiVo
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I Care 4 U
Aaliyah
R&B - Released December 10, 2002 | Blackground Records, LLC
Respecting the legacy of one of R&B's most important artists during the '90s, Universal and Blackground waited more than a year after her death to deliver a new Aaliyah release. Considering all the time that had gone by, however, fans could be forgiven for expecting an album of all-new material to compensate for the long drought. I Care 4 U actually balances a brief hits collection with a half-dozen new songs, most of the fresh material appearing only after a run-through of the hits from her three proper albums. There isn't too much to complain about concerning the hits selection; I Care 4 U touches on most of the highlights from her seven-year career: "Back & Forth" and "At Your Best (You Are Love)" from her first album, "One in a Million" and "Got to Give It Up" from 1996's One in a Million, and three tracks from 2001's Aaliyah. (Surely though, the compilers could've found room on this 14-track collection for a pair of her Top Ten greats, "If Your Girl Only Knew" and "The One I Gave My Heart To," or the Romeo Must Die hit "I Don't Wanna.") Of the new tracks, four of the six feature composer credits from Johnta Austin ("I Don't Wanna"), and his affectionate, smoky ballads are perfectly suited to Aaliyah's vocals. "Miss You," the presciently titled single, and "All I Need" don't have the edge of her classic Timbaland productions, but they stand up well -- even when they're slotted next to the best songs of her career. Aaliyah was well ahead of her time during her brief career, and I Care 4 U hangs together well, the hits showing the power of her voice and the strength of her accompanying productions, while the new songs provide an intriguing look at where Aaliyah may have taken her career had she lived.
© John Bush /TiVo
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Life'll Kill Ya
Warren Zevon
Rock - Released January 25, 2000 | Vanguard
Conventional wisdom has it that rock & roll is the aural embodiment of youth culture, but as more artists who've devoted their lives to playing the stuff grow older, they've struggled to reconcile maturity with the recklessness of the music. No surprise, then, that few if any have had the courage to do what Warren Zevon did with his 2000 set Life'll Kill Ya -- create a concept album about aging, disease, decay and ultimately death. "My Shit's Fucked Up" and the title tune are bleakly witty but unblinking glimpses into the abyss of mortality, "Don't Let Us Get Sick" is a sadly hopeful prayer against the inevitable, "Porcelain Monkey" chronicles Elvis Presley's long slide into fatal irrelevance, and the cover of Steve Winwood's "Back in the High Life Again" transforms the song into a picture of a man struggling to convince himself he's going to get out alive. Given its dominant themes, Life'll Kill Ya is surprisingly light hearted; while Zevon seems to regard our long, slow march towards fate as some sort of joke, it's clear that he thinks the joke is pretty funny, and the performances are confident and fully engaged, a pleasant surprise after 1995's lackluster Mutineer. While Zevon handles most of the instrumentation, he had the good sense to bring in a rhythm section rather than letting synthesizers do the work, and Jorge Calderon and Winston Watson bring a human heartbeat to this music that counters the sometimes gloomy outlook. The sad irony is that two years after making Life'll Kill Ya, Warren Zevon would be diagnosed with an inoperable case of mesothelioma that would claim his life in the fall of 2003, but the album's themes ring even truer given the artist's fate -- Zevon was too bright a man to not know that Death was lurking somewhere, and on Life'll Kill Ya, he sure doesn't welcome him but is able to greet him with a smile and a handshake despite it all.
© Mark Deming /TiVo
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Kissing To Be Clever
Culture Club
Rock - Released January 1, 1982 | Virgin Catalogue
Kissing to Be Clever is the album that put Culture Club on the musical map. Incorporating pop, rock, dance, new wave, soul, and Caribbean rhythms (an amalgamation of "cultures"), the result was a soulful, progressive pop outing that scored several landmark international hits and made a star out of the band's outrageous frontman, Boy George. A couple of tracks were European dance hits, but the first "official" single, "Do You Really Want to Hurt Me," was a simple masterpiece, resonating with an ache that harked back to the classic torch songs of yesteryear. Most of the other songs were quite different, with energetic beats and sometimes silly, campy themes ("Boy Boy I'm the Boy," "White Boys Can't Control It," and "White Boy"). The album scored two other major hits, the zippy and bouncy "I'll Tumble 4 Ya" and the gorgeous "Time (Clock of the Heart)." However, beware that "Time" is only on certain pressings of the album. When the album was issued on CD, and once the Epic label dissolved, the formerly colorful album cover had turned to black and white, and "Time" had been omitted, which is pretty ridiculous, considering the song was a huge number two hit, and the album was then left with only nine tracks. Still, this set is a highlight of 1980s music, and set the stage for one of the decade's most loved and oft-remembered bands.© Jose F. Promis /TiVo
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Return to the 36 Chambers: The Dirty Version
Ol Dirty Bastard
Hip-Hop/Rap - Released March 28, 1995 | Rhino - Elektra
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As a member of the Wu-Tang Clan, Ol' Dirty Bastard's bizarre, free-form rants added both comic relief and a dangerous unpredictability to the group's chemistry. ODB's RZA-produced solo debut Return to the 36 Chambers stretches his schtick over a full album, which if anything makes him sound even more unbalanced. Long before the album ends, it's clear that ODB has emptied his bag of tricks -- loose, off-the-beat raps that sometimes don't even rhyme, unbelievably graphic vulgarity, gonzo off-key warbling (which sounds a little like Biz Markie as a mental patient), and general goofing off. Yet within that role as hardcore rap's clown prince of psychosis, ODB is pretty damned entertaining. His leaps in association are often as disturbing as they are funny, whether they're couched in scatological detail or not; they certainly don't make his widely publicized erratic behavior seem at all surprising. And, despite the unstructured feel dominating most of the album, there are a fair share of hooks, and two absolutely killer singles in "Shimmy Shimmy Ya" and "Brooklyn Zoo." Certainly, there's no reason for the album to be as long as it is, considering the dull filler toward the end. But, even though Return to the 36 Chambers might not be the most earth-shattering piece of the Wu-Tang puzzle, it's an infectious party record which proves that, despite his limitations, Ol' Dirty Bastard has the charisma to carry an album on his own.© Steve Huey /TiVo
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FREE 6LACK
6LACK
R&B - Released November 18, 2016 | LVRN Records
Booklet
Atlanta artist 6LACK combines atmospheric R&B and rap on his debut LP, FREE 6LACK (Love Renaissance/Interscope). With woozy production from a team including Nova, FWDSLXSH, and Singawd, FREE 6LACK is an intense and insular journey through the bleak landscape of relationship pains and introspection. Including the single "PRBLMS," FREE 6LACK debuted at number five on the Billboard rap chart, number 11 on the R&B/hip-hop chart, and number 68 on the overall album chart.© Neil Z. Yeung /TiVo
![The Abyssinians Satta Massagana (Original Jamaican Mixes) [Deluxe Edition]](https://static.qobuz.com/images/covers/3a/79/fnfwaqip6793a_100.jpg)
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Satta Massagana (Original Jamaican Mixes) [Deluxe Edition]
The Abyssinians
Reggae - Released January 1, 1976 | Shaklow
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Clones Of Dr. Funkenstein
Parliament
Funk - Released July 7, 1976 | Mercury Records
Come 1976, and Parliament got up to its usual tricks in that particular incarnation -- right down to opening backwards-masked vocal weirdness plus sci-fi scenarios in the "Prelude," where "funk is its own reward." With Bernie Worrell and Fred Wesley splitting the horn arrangements and Clinton and Bootsy Collins taking care of the rest, the result is a concept album of sorts you can dance to. The clones get up and do their thing throughout, and if it's not The Wall, then that's all to its benefit. The immediate downside of Clones is that it's a fairly one-note record -- every groove can just about be exchanged for any other one, unlike the wider variety apparent on other releases. Given Clinton and company's sheer work rate, something likely had to give and this is one of the stress points. There are a couple of stronger songs -- "I've Been Watching You (Move Your Sexy Body)" is classic slow jam territory. Not exactly Barry White, but hearing Parliament tone it down just enough pays off, especially with Worrell's drowsy, sensuous horn charts. "Funkin' for Fun," meanwhile, brings the album to a strong, lively end, with just enough in the call-and-response vocals and horns to spark some extra energy into the proceedings. As is the case with most mid- to late-'70s Parliament, things may not be as deep as what was done as Funkadelic, but only those who always explicitly value lyrical worth have any cause to complain. Listening to the silly squeals and burbles on "Dr. Funkenstein" itself is pure fun with sound, while the good doctor's speech is scientific craziness. As one voice says out of nowhere, "Kiss me on my ego!" Special bonus -- the utterly goofball cover photo, one of P-Funk's best.© Ned Raggett /TiVo
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Superclean, Vol. I
The Marias
Alternative & Indie - Released November 3, 2017 | Superclean Records
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
By default, search results are sorted in order of relevance. The drop-down menu to the right of "Sort by" allows you to display the results in the desired order.