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Rock - Verschijnt op 4 december 2020 | Legacy Recordings

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Rock - Verschijnt op 20 november 2020 | Legacy Recordings

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Country - Verschijnt op 13 november 2020 | Legacy Recordings

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Country - Verschenen op 23 oktober 2020 | Legacy Recordings

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Divers - Verschenen op 9 oktober 2020 | Legacy Recordings

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Rock - Verschenen op 18 september 2020 | Legacy Recordings

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Hoping for the reformation of Pink Floyd, the band’s drummer Nick Mason grew tired of awaiting a call from bandmates David Gilmour or Roger Waters. Mason, the only member to have played on all the albums by the group, launched his project Saucerful Of Secrets in 2018, also the name of the Englishmen’s second album which saw singer Syd Barrett’s dismissal during the recording. The idea being to have some fun playing tunes from Pink Floyd’s early days in a sort of five star “tribute band”. Accompanied by guitarist Gary Kemp from British group Spandau Ballet and Guy Pratt (who has taken Roger Walter’s place) on the bass and microphone, Mason set off on a large international tour with the aim of “capturing the spirit” of Pink Floyd before the album The Dark Side of the Moon. An essential step in the tour was at London’s famed venue, The Roundhouse. Here, the English group performed their legendary concerts in 1967 and 1971. And this double album is just as grandiose. Nick Mason and his lackeys are liberal with their long, ultra-psychedelic passages from the incipit Interstellar Overdrive, followed by a nod towards Astronomy Domine, another track written by Barrett, whose ghost haunts a record which will delight all Floyd fans and impress passers by. © Smaël Bouaici/Qobuz
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Jazz - Verschenen op 18 september 2020 | Legacy Recordings

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In 2020, the release of a late-era Thelonious Monk live show recorded at a high school by a custodian may seem like, at best, a historical curio or, at worst, the very epitome of barrel-scraping. But from the first moments of this 45-minute set, it's clear that this unique recording has far more going for it than its provenance or its rarity. But, to be sure, both the provenance and rarity of the recording are worth noting: In the heightened, revolution-ready atmosphere of 1968, a senior at an affluent and predominantly white high school bringing a jazz legend to campus seems like an absurd idea, but this senior was Danny Scher, and this wasn't even the first jazz gig he booked at Palo Alto High (he brought in Cal Tjader during his junior year and would book Duke Ellington a few months after this Monk show). Scher would go on to work for more than two decades with concert promoter Bill Graham, but in 1968, he was a driven and passionate young jazz fan who didn't take no for an answer. So, with Thelonious Monk booked for a two-week stand at the Jazz Workshop in San Francisco, Scher didn't see why he couldn't bring the iconic pianist into Palo Alto for a Sunday afternoon side gig at his high school. Monk, having recently released what would be his last Columbia album (Underground), was on the cusp of forced retirement due both to his struggles with mental illness and the generally waning relevance of bop-era jazz icons; at this point in his career, he wasn't turning down a well-paying gig, regardless of the venue. With mthe rest of his quartet in tow, Monk put on a jubilant, tight, and joyous performance in a high school gym on a rainy Sunday afternoon. It's a pretty standard Monk set for the time—just six songs, mostly Monk-penned stalwarts from '40s and '50s like "Epistrophy" and "Blue Monk," as well as a brief and lovely solo piano take on "I Love You Sweetheart of All My Dreams"—but Monk and the quartet (saxophonist Charlie Rouse, bassist Larry Gales, and drummer Ben Riley) are in light spirit and great form throughout, full of energy and interplay. The quality of the recording— which, again, was made by the school's custodian!—is excellent, with rich low end and a shining clarity showcasing the melodic conversations between Monk's piano and Rouse's tenor sax. The crowd noise is pretty low in the mix compared to many live recordings, and there are occasional moments of audible degradation due to the age of the tape, but overall, this is an incredible recording. The sound is clear, warm, immersive, and enveloping, right down to the audible squeaks of Monk's piano bench, putting the listener right in the middle of a truly unique performance. © Jason Ferguson/Qobuz
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Divers - Verschenen op 8 september 2020 | Legacy Recordings

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Italië - Verschenen op 2 september 2020 | Legacy Recordings

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Pop - Verschenen op 28 augustus 2020 | Legacy Recordings

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Pop - Verschenen op 21 augustus 2020 | Legacy Recordings

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Hip-Hop/Rap - Verschenen op 31 juli 2020 | Legacy Recordings

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R&B - Verschenen op 24 juli 2020 | Legacy Recordings

Rock - Verschenen op 17 juli 2020 | Legacy Recordings

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Those who criticise The Boss for his extravagance, his larger than life attitude and his testosterone-filled music can get stuck right into Stripped Down, the new volume of his digital Live Series. Alone on stage with a guitar or a piano, Bruce Springsteen performs pared-down, no-frills versions of his songs in an up-close-and-personal style. New tones in his voice hit a sweet spot in our ears, particularly on the cover of his hit song Born to Run and even more so on The River, in which he launches into a rather surprising shamanic falsetto. Finally, it’s hard not to fall in love with a beauty like Cynthia (first released in 1998 in the Tracks box set), which sees The Boss become a good old rock ‘n’ roll rebel once more. These fifteen tracks listed in chronological order were recorded live in Europe and the United States between 1986-2005 and serve as a reminder of Springsteen’s first-rate songwriting ability. © Marc Zisman/Qobuz
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Pop - Verschenen op 17 juli 2020 | Legacy Recordings

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Franse chansons - Verschenen op 10 juli 2020 | Legacy Recordings

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Pop - Verschenen op 10 juli 2020 | Legacy Recordings

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Country - Verschenen op 3 juli 2020 | Legacy Recordings

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For his 70th album, the unshakeable Willie Nelson (now 87 years of age) shows us his softer side. He may be the King of the outlaws, sitting comfortably atop his marijuana mountain, but the Texan has never hidden the super-sensitive and borderline romantic side of his personality. First Rose of Spring was produced by his old partner Buddy Cannon with whom he co-wrote two of its original songs. It also includes compositions by Chris Stapleton, Toby Keith and Pete Graves, as well as one by another 5-star outlaw, Billy Joe Shaver, with whom he covers We Are the Cow-Boys. This exquisite album primarily made up of love songs is drawn to a close with Yesterday When I Was Young (a cover of Charles Aznavour’s famous Hier Encore), which gives a sense of finality to the album as a whole, but not in a weak, languishing way. The production is understated, never flashy and accentuates the violins – when they’re there – with skill. There are also some beautiful acoustic guitar moments (played on a Martin N-20 Trigger) and vocals that are more fluid than usual. First Rose of Spring truly stands out from the many (perhaps too many) recent releases of Willie Nelson, who seems to be writing a never-ending will but doing so with as much class as ever. © Marc Zisman/Qobuz
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Rock - Verschenen op 3 juli 2020 | Legacy Recordings

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Divers - Verschenen op 3 juli 2020 | Legacy Recordings

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