The Qobuz Ideal Discography

Most of Coolio's hit debut It Takes a Thief was fairly upbeat material, but the appearance of the stark single "Gangsta's Paradise" in the summer of 1995 signaled a change in the rapper's music. Driven by an ominously deep bassline and slashing strings, the creeping, threatening funk of "Gangsta's Paradise" was the most chilling thing Coolio had recorded to date, but the menace didn't come at the expense of his considerable talent for immediate, catchy hooks. Consequently, the single shot to the top of the charts and hovered in the Top Ten for many weeks. The album followed shortly afterwards, and it didn't fail to deliver on the promise of the single. Not only did Coolio expand his sound, but his songwriting skills improved, as Gangsta's Paradise has very few weak moments. Alternating between slow, funky grooves and elastic, party-ready anthems, Gangsta's Paradise is proof that Coolio is one of the most exciting and interesting hip-hop artists of the mid-'90s. ~ Stephen Thomas Erlewine

More than eight and a half hours of music! Bobby Gentry absolutely deserves such a generous celebration, even though her glory years only really lasted about a decade. Retiring in the early 1980s into total anonymity, this great voice of the 1960s and 1970s is presented here in a deluxe selection. Across 8 records, 177 tracks are brought together: her six studio albums for Capitol (Ode to Billie Joe from 1967, The Delta Sweete and Local Gentry from 1968, Touch ‘Em With Love from 1969, Fancy from 1970 and  Patchwork from 1971), the record she made with Glen Campbell in 1968 and over 70 unreleased tracks including alternative takes, demos, BBC live recordings and all kinds of rarities! Hidden behind the mystery of her premature retirement and the cult following which has only grown with time remain these songs. Bobbie Gentry was more than just a simple country, folk and pop singer like so many others of her generation. Only Bobby could’ve written hits like Mornin' Glory, Fancy, Okolona River Bottom Band, Chickasaw County Child and most famous of all, covered the world over, Ode to Billie Joe, the fascinating story of the suicide of the mysterious Billie Joe McAllister who leapt from Tallahatchie Bridge. In France, Joe Dassin would go on to put a French spin on the song: Billie Joe became Marie-Jeanne and the Tallahatchie Bridge became the bridge over the Garonne… There is class, freedom and striking sensuality in Bobbie Gentry's voice. There are also brilliant arrangements and an instrumentation that line up perfectly with the songs, from slightly kitschy lounge strings (but they're so cool) to a simple guitar that clings to the contours of her voice. Bobbie Gentry was never fully country, fully pop, fully soul or fully folk. She was Bobbie Gentry. Full stop. © Marc Zisman/Qobuz

Two chords on the synthesiser and everything is said! More than enough to recognise the singular sound of Eurythmics, the emblematic band from the 1980s. The tandem of Annie Lennox and Dave Stewart symbolises perfectly this new synth-pop wave (pop in essence, futuristic in form) so typical of this decade during which guitars had almost become personae non-gratae… And while the British duo topped the charts during the entire decade, Sweet Dreams remains their greatest work. On the partition, Dave Stewart dabbled in a darker new wave, a-la Bowie (Love Is A Stranger) and dared venturing into “krautrock” light (Sweet Dreams). He could go funky (I’ve Got An Angel) or even disco (Wrap It Up). On vocals, Annie Lennox is impressive, as always, switching from soul to a bleak singing voice at will. A true classic! © Clotilde Maréchal/Qobuz

After a magical first work of fairly rough alternative country (A.M.) that was conceived at the time of the turbulent separation of his group Uncle Tupelo, Jeff Tweedy took his time to release a second album with Wilco. Already, the work was ambitious as it was a double album. Blending all their musical similarities, this was an album that from the moment it was released in October 1996 led quite a few journalists to write that Tweedy had signed his own Exile On Main Street. Much like the Rolling Stones’ masterpiece, eclecticism is the crucial ingredient to this mix of basic rock’n’roll, bluegrass, country rock, psychedelia, folk and soul. With loose guitars, pedal steel, brass and unlimited instrumentals, Wilco weaves here an impressive web between the Rolling Stones from their golden age, The Replacements, The Beatles and Big Star from the album Third. Alternating between ballads and electronic soundstorms, Tweedy demonstrates above all else that with a timeless and classical base, he is taking the lead with his grandiose songs and the stunning architecture of his compositions… This remastered Deluxe Edition offers, as well as the original album, fifteen unpublished bonus tracks notably including alternative versions of I Got You and Say You Miss Me alongside a live recording from 12th November 1996 in Troubadour, Los Angeles and a session for the radio station Santa Monica KCRW taken the next day. © MZ/Qobuz

This well-known monographic album devoted to Aaron Copland is also a joyful symbol of the long friendship that united a young, nineteen-year-old Bernstein with one of the greatest American composers. The two men, separated by an age difference of eighteen years, met on campus at Harvard during a modern dance show. While Copland was already a well-respected composer, Leonard Bernstein remained a complete unknown, full of talents and projects. The elder helped the young musician by recommending him to the Curtis Institute, and then the Tanglewood Music Festival. Grateful, Bernstein played Copland’s music his whole life out of affection as well as genuine passion. Released in 1962, this LP features three ballets. Appalachian Spring, composed in 1944 for Martha Graham, tells the story of American pioneers by citing numerous folk songs of that time, including Shaker Dance that acts as a link between the eight movements of the piece. El Salón Mexico, originally a purely orchestral piece, is the idealised representation of a Mexican folk-song salon, even if the influence of Stravinsky is clear. Based on scores bought in situ by the composer, several styles of music shine through, from the most popular to the most academic. Music for the Theater, composed in 1925, is a string of small pieces inspired by jazz music that caused quite a scandal in conservative concert halls in the 1920s! © François Hudry/Qobuz

The rules of the game were certainly perfectly clear after their first album: in the third instalment of the Ramones' story, they surpassed themselves. And even refined their art! Once again, with this Rocket to Russia, released on 4 November 1977, at the height of the Cold War, it was all about three-chord symphonies, enthusiastically cretinous and 100% adolescent hi-jinks and above all, taking rock'n'roll back to its birthplace: the garage! But the refrains of Sheena Is A Punk Rocker or Teenage Lobotomy are peerless in their re–imagining of their rock’n’roll, bubblegum pop and surf heritage. And even when they cover the cult tracks Surfin’ Bird by the Trashmen or Do You Wanna Dance? (made famous by Cliff Richard, the Beach Boys and even Bette Midler) our delinquent punks from Queens produced savage and raw rock like nobody else! This edition to mark the 40th birthday of this sublime sonic attack offers two mixes of the album: the original, and a new mix, entitled Tracking Mix by Ed Stasium, the sound engineer on the original release. It also includes 24 rare or unreleased tracks, demos, alternative versions and B–sides. And the cherry on the cake is a dazzling, unreleased live version by the four Ramones brothers (all from other mothers) recorded on 19 December 1977 the Apollo Centre in Glasgow, Scotland. © MZ/Qobuz

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

For their third album, The Smiths are at the top of their game: a tortured crooning voice, crystalline arpeggios seeping from a limpid guitar, romantic and cynical lyrics, everything’s gathered for some 100% British pop, like The Kinks, The Who and The Jam knew how to create in their day… The Queen Is Dead, Bigmouth Strikes Again, The Boy With The Thorn In His Side, There Is A Light That Never Goes Out and Some Girls Are Bigger Than Others are all introspective gems that the charismatic Morrissey transforms into pure poetry. Teenage worries, social paintings, subtle caricatures, Mozzer dips his pen here in the ink of perfection. © MD/Qobuz