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Dank der Zusammenarbeit im Vorfeld mit den Tonstudios und einer immer größer werdenden Anzahl an Major- und Independent-Labels (ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, Ambronay Editions, Zig Zag Territoires, usw.) kann Qobuz immer mehr Neuheiten und eine umfangreichere Auswahl seines Backkatalogs in Hi-Res 24-Bit anbieten. Diese Alben geben den direkt vom Mischpult stammenden Originalklang wieder und ermöglichen ein unvergleichliches Hörerlebnis, das über die Qualität von CDs (die üblicherweise auf 44,1 kHz/ 16 Bit "reduziert" werden) hinausreicht. Die Dateien in "Qobuz Hi-Res" sind DRM-frei und zu 100 % mit Mac und PC kompatibel. Qobuz setzt sich so für die Klangverbesserung der Online-Musik ein, die lange Zeit vom komprimierten MP3-Format bestimmt war, und bietet Musikliebhabern Klangqualität und Komfort bei der Nutzung von digitaler Musik.

Hinweis Die auf Qobuz angebotenen Alben in Hi-Res 24-Bit werden direkt von den Labels bereitgestellt. Es findet keine SACD-Neukodierung statt, und wir garantieren, dass die Alben auf direktem Wege bezogen werden. Wir nehmen grundsätzlich keine manipulierten Alben in unser Angebot auf.

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HI-RES31,99 Fr.
CD27,49 Fr.

Soul - Erschienen am 30. April 2021 | Epic - Legacy

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HI-RES5,29 Fr.
CD4,49 Fr.

Soul - Erschienen am 29. April 2021 | Epic - Legacy

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HI-RES30,99 Fr.
CD21,99 Fr.

Soul - Erschienen am 21. März 2018 | Epic - Legacy

Hi-Res Booklet Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES3,49 Fr.
CD2,99 Fr.

Soul - Erschienen am 29. September 2017 | Epic - Legacy

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HI-RES20,39 Fr.
CD17,99 Fr.

Soul - Erschienen am 27. September 2017 | Epic - Legacy

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HI-RES21,99 Fr.
CD15,49 Fr.

R&B - Erschienen am 4. Dezember 2015 | Def Jam Recordings

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Babyface's Def Jam debut, Return of the Tender Lover is also his first solo album of original material in a decade. After the one that preceded it, Grown & Sexy (2005), there was the covers set Playlist (2007) and the Grammy-winning Toni Braxton collaboration Love, Marriage & Divorce (2014). While this is titled in reference to his triple platinum 1989 release, there are no attempts at rewriting "It's No Crime" or "Whip Appeal." Instead, Return of the Tender Lover is inspired more by the crowd-pleasing "feel good" performance model perfected by recent tour mates like Charlie Wilson and Maze. Some echoes of the latter's gently uplifting, summer evening grooves -- such as "Golden Time of Day" and "We Are One" -- can be heard in "We've Got Love," "Exceptional," and "Something Bout You," all of which are highlights that still sound like Babyface songs. For the cheerful "Walking on Air," he switches it up with a Smokey Robinson nod that features a reunion with El DeBarge (whose Heart, Mind & Soul was dominated by his contributions). "I Want You," another track that involves a reconnection, easily incorporates background vocals from After 7 (a group that made its first and greatest splash with Babyface/L.A. Reid magic). Short, sweet, and steady at nine songs that vary little in quality and sentiment -- it's resolutely smooth, all about romance, devotion, and perseverance -- Return of the Tender Lover is among Babyface's best. Credit him and songwriting partners Daryl Simmons and Kameron Glasper, along with hall of fame-level session musicians like Nathan East and Greg Phillinganes, for ignoring the increasingly narrow sound of commercial R&B. They've done so with a satisfying album that sounds as if its organic making necessitated little exertion. © Andy Kellman /TiVo
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HI-RES25,49 Fr.
CD17,99 Fr.

Soul - Erschienen am 1. Januar 1983 | Motown

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
On Can't Slow Down, his second solo album, Lionel Richie ran with the sound and success of his eponymous debut, creating an album that was designed to be bigger and better. It's entirely possible that he took a cue from Michael Jackson's Thriller, which set out to win over listeners of every corner of the mainstream pop audience, because Richie does a similar thing with Can't Slow Down -- he plays to the MOR adult contemporary audience, to be sure, but he ups the ante on his dance numbers, creating grooves that are funkier, and he even adds a bit of rock with the sleek nocturnal menace of "Running With the Night," one of the best songs here. He doesn't swing for the fences like Michael did in 1982; he makes safe bets, which is more in his character. But safe bets do pay off, and with Can't Slow Down Richie reaped enormous dividends, earning not just his biggest hit, but his best album. He has less compunction about appearing as a pop singer this time around, which gives the preponderance of smooth ballads -- particularly "Penny Lover," "Hello," and the country-ish "Stuck on You" -- conviction, and the dance songs roll smooth and easy, never pushing the beats too hard and relying more on Richie's melodic hooks than the grooves, which is what helped make "All Night Long (All Night)" a massive hit. Indeed, five of these songs (all the aforementioned tunes) were huge hits, and since the record ran only eight songs, that's an astonishing ration. The short running time does suggest the record's main weakness, one that it shares with many early-'80s LPs -- the songs themselves run on a bit too long, padding out the running length of the entire album. This is only a problem on album tracks like "Love Will Find a Way," which are pleasant but a little tedious at their length, but since there are only three songs that aren't hits, it's a minor problem. All the hits showcase Lionel Richie at his best, as does Can't Slow Down as a whole. © Stephen Thomas Erlewine /TiVo
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HI-RES25,49 Fr.
CD17,99 Fr.

Disco - Erschienen am 1. Juni 1983 | Island Mercury

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Donna Summer's brassy, matter-of-fact mezzo does not play the sexy sanctified diva, and her musicians' crisp, loud beats don't evoke rapture or delirium. Instead, she and her rhythm men live up to the title of "She Works Hard for the Money." Here's praise for a waitress' 12-hour workday that sums up Summer's own post-dance queen job status, as well as disco fans' own spotlighted lives and maintains the pressure, from the steel-and-synth riffs of "Stop, Look & Listen" to the impatient tenderness of "People, People." No one writes about love with as mesmeric a sense of wonder as Summer confesses in "Love Has a Mind of Its Own," "Unconditional Love," and "I Do Believe (I Fell in Love)." © Michael Freedberg /TiVo
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HI-RES30,99 Fr.
CD25,99 Fr.

Soul - Erschienen am 14. September 2012 | Epic - Legacy

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES30,99 Fr.
CD21,99 Fr.
Bad

Soul - Erschienen am 14. September 2012 | Epic - Legacy

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES26,49 Fr.
CD22,99 Fr.

R&B - Erschienen am 13. Juni 2000 | Reprise

Hi-Res Booklet Auszeichnungen Hi-Res Audio
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HI-RES30,99 Fr.
CD21,99 Fr.

Soul - Erschienen am 19. Mai 1997 | Epic

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HI-RES19,99 Fr.
CD14,49 Fr.

R&B - Erschienen am 1. Januar 1986 | Motown

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HI-RES25,49 Fr.
CD17,99 Fr.

R&B - Erschienen am 1. Januar 1986 | UNI - MOTOWN

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Ab
HI-RES28,99 Fr.
CD20,49 Fr.

Soul - Erschienen am 1. Januar 1983 | UNI - MOTOWN

Hi-Res
On Can't Slow Down, his second solo album, Lionel Richie ran with the sound and success of his eponymous debut, creating an album that was designed to be bigger and better. It's entirely possible that he took a cue from Michael Jackson's Thriller, which set out to win over listeners of every corner of the mainstream pop audience, because Richie does a similar thing with Can't Slow Down -- he plays to the MOR adult contemporary audience, to be sure, but he ups the ante on his dance numbers, creating grooves that are funkier, and he even adds a bit of rock with the sleek nocturnal menace of "Running With the Night," one of the best songs here. He doesn't swing for the fences like Michael did in 1982; he makes safe bets, which is more in his character. But safe bets do pay off, and with Can't Slow Down Richie reaped enormous dividends, earning not just his biggest hit, but his best album. He has less compunction about appearing as a pop singer this time around, which gives the preponderance of smooth ballads -- particularly "Penny Lover," "Hello," and the country-ish "Stuck on You" -- conviction, and the dance songs roll smooth and easy, never pushing the beats too hard and relying more on Richie's melodic hooks than the grooves, which is what helped make "All Night Long (All Night)" a massive hit. Indeed, five of these songs (all the aforementioned tunes) were huge hits, and since the record ran only eight songs, that's an astonishing ration. The short running time does suggest the record's main weakness, one that it shares with many early-'80s LPs -- the songs themselves run on a bit too long, padding out the running length of the entire album. This is only a problem on album tracks like "Love Will Find a Way," which are pleasant but a little tedious at their length, but since there are only three songs that aren't hits, it's a minor problem. All the hits showcase Lionel Richie at his best, as does Can't Slow Down as a whole. © Stephen Thomas Erlewine /TiVo
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HI-RES30,99 Fr.
CD21,99 Fr.

Soul - Erschienen am 4. Juli 1983 | Epic

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES30,99 Fr.
CD21,99 Fr.

Soul - Erschienen am 30. November 1982 | Epic

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung - Herausragende Tonaufnahme
Schon als kleiner Adept galt Michael Jackson bei den Jackson 5 im Motown-Soundgewand als "The Sound Of The Young America". Sein Vater Joseph und Motown-Boss Berry Gordy Jr. fixierten besonders den jüngsten der Jackson-Brüder. Sie teilten seine Stimme dem Leadgesang zu und trimmten ihn bis zur Marktführerschaft in der Popularmusik. Als ausgewachsener Erwachsener bot Michael Gesprächs- und Zündstoff, indem er durch seine menschliche Komplexität global- und selbst-verändernd wirkte. Jacksons Manifest "Thriller" machte die Popmusik seiner Figur untertan, dem Erfolg entsprechend krönte er sich selbst zum "King of Pop". Die Bedingungen zur absoluten Verkörperung des Mainstream waren damit gegeben. "Thriller", das Hauptwerk, sehnte sich nach dem Prequel "Off The Wall" mehr nach dem perfekten Lied als nach der perfekten Hüftschwungnummer und schien in einer pop- und vinylmüden Musiklandschaft richtig zu agieren. Sieben Top-Ten-Singles, die neu eingeführte Philips-Sony-CD und 110 Millionen verkaufte Pressungen bestätigten das zu einem späteren Zeitpunkt. Als Eckpfeiler dieses 'Thrills' gaben sich eingeübte Muster von Rock, Pop und Rhythm & Blues zu erkennen. In seiner Gesangsmethodik konzentrierte sich Michael auf das 'Vocal Hiccup', eine stimmliche Rhythmisierung oder rhythmische Akzentuierung, mit der er das Schlagzeug oder die Rhythmusgruppe unterstützte. "Billie Jean" trägt solche Schluckauf-Stelldicheins. Kaum werden ein, zwei Töne von der Mutter aller modernen Basslines kolportiert, sitzt die schwergewichtige Moonwalk-Vorstellung im Nacken. Der ohnehin recht kindlich-naive Michael war, als er "Billie Jean" schrieb, so von diesem genialischem Befund befallen, dass er nicht bemerkte, wie sein Rolls Royce sich erhitzte und in Brand geriet - während er in seinem hypnotisch-beseelten Zustand auf dem kalifornischen Ventura Freeway fuhr. Der nahtlose Fortsatz von "Off The Wall"s "Don't Stop Till You Get Enough" und das große 'Ja' zur Discokultur bezeichnen den "Thriller"-Anfang "Wanna Be Startin' Somethin'". Funk-Bläser pochen darauf, sowohl den Tänzer als auch die Platte selbst zur Dauerrotation zu zwingen. Es wundert nicht, dass "Thriller" nur so vor überdimensionalem Selbstbewusstsein und sprießendem Hedonismus strotzt. Bereits auf dem Album-Cover bietet sich Michael mit geöffnetem Hemd dem Käufer an und demonstriert eindringliche Wichtigkeit. Den Titelsong selbst begleitet ausgiebiger Pomp im Werwolfsclip mit Kurzfilmcharakter. Der Horrorfilm der 50er Jahre beeinflusst die okkultistische Videobeigabe . Quincy Jones und sein Schützling Michael luden Paul McCartney zu einem Duett ("The Girl Is Mine") und Eddie Van Halen zu einem Gitarrensolo ("Beat It") ein. Jones' lakonische Anweisung an Van Halen: "Ich werde dir nicht sagen, was du spielen sollst. Der Grund dafür, warum du hier bist, ist wie du spielst." Der gehorsame Eddie griff zuerst nach der Gitarre, dann in die Saiten und hinterließ beim Produzententeam offene Münder. In einem lupenreinen Popsong konnte auch so ein technisches Feuerwerk funktionieren. Der Anspruch blieb, Michael nahm das Zepter in die Hand und Jones bewachte das heilige Vorhaben. Selbstverständlich nahm das Songwriter-Duo ein paar Grammys mit. Der Sack für die Trophäen war schließlich groß genug und es hatte einige Mühe gekostet, ihn aus neun Teilen zusammenzuflicken. Nicht erst durch seinen Tod entstand Jackos schillernder Mythos, sondern durch seine unauflösliche Allgegenwart, die mit "Thriller" ihre größte anzunehmende Form erhielt. Ob aus gewollter Interessennähe oder plattem Gossip, überzeugender Überwältigung oder werbenaher Beiläufigkeit: Jeder wusste um sein unerklärliches Innerstes, das er märchennah und wirklichkeitsfern zelebrierte. Schierer Zufall muss es gewesen sein, dass "Thriller" damals noch nicht zum außermusikalischen Stolperstein geworden ist. Die Risse kamen später, nach "Bad", der körperlichen Transformation, dem amtlichen Tratsch. Jackos Jahre waren die frühen 80er, hier lag der Schwerpunkt auf geglückter Glanz und Gloria. Was heute im Gedächtnis bleibt, ist das vergoldete Standbild, an das man sich seit "History" erinnert. So stellt man sich Michael im besten Fall vor. This was a man's world. © Laut
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HI-RES19,99 Fr.
CD14,49 Fr.

R&B - Erschienen am 1. Januar 1982 | Motown

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Lionel Richie's solo career began while he was still in the Commodores, as he wrote and sang (as a duet with Diana Ross) the theme to the Brooke Shields romance Endless Love, which became a bigger hit than any of the group's singles, thereby setting the stage for his departure and his 1982 self-titled solo debut. He wasn't working in unfamiliar territory, or with new musicians. The Commodores decided to work as their own band, so their producer, James Anthony Carmichael, was able to devote his energy to working on Richie's album. Using the pop-crossover ballad style of "Endless Love," "Three Times a Lady," and "Easy" as their template, the duo turned Lionel Richie into a sleek, state-of-the-art record that, at its best, provides some irresistible pop pleasures. The key to its success -- and the reason it was scorned by some Commodores fans -- is that Richie doesn't even make a pretense of funk here, leaving behind the loose, elastic grooves of his previous bands (a move that makes sense, since his voice never suited that style particularly well), choosing to concentrate on ballads and sparkly mid-tempo pop, peppered with a few stylish dance grooves. The ballads, of course, provided two big hits with "My Love" and "Truly," two numbers that illustrate that he was moving ever-closer to mainstream pop, since these are unapologetic AOR slow-dance tunes. The other big hit, "You Are," is an effervescent, wonderful pop tune that showcases Richie at his sunniest; it's one of his greatest singles. Throughout the first part of the record, the dance numbers are served up and they're very good -- "Serves You Right" has a shiny, propulsive groove, while "Tell Me" jams nicely. After "You Are," the record bogs down with a couple of ballads that are on the wrong side of adult contemporary -- too formless, too hookless to really catch hold -- but they don't hurt the first seven songs, which form a dynamic mainstream pop-soul record, one of the best the early '80s had to offer. It's the sound of Lionel Richie finding his solo voice, and, the next time out, he knew how to use it even better than he does here. [The 2003 reissue of Lionel Richie includes two bonus tracks: a solo demo of "Endless Love" which not only fits perfectly with this record, but is less cloying, and an instrumental of "You Are" whose primary worth is to hear the detail and expertise in the production Richie and Carmichael assembled.] © Stephen Thomas Erlewine /TiVo
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HI-RES20,39 Fr.
CD17,99 Fr.

Soul - Erschienen am 26. September 1980 | Epic

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