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63893 albums sorted by Most acclaimed
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Reggae - Released May 26, 2017 | Soul Jazz Records

Distinctions The Qobuz Ideal Discography - Songlines Five-star review
€21.49
€14.99

Film Soundtracks - Released January 1, 2013 | Capitol Records (CAP)

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
€69.99

Classical - Released January 1, 1996 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Pop - Released January 1, 2011 | Fantasy Records

Distinctions 3F de Télérama - Sélection Les Inrocks
In some respects, Rave On Buddy Holly is a standard tribute album: it salutes a legend by rounding up classic rockers and hipsters to cover his canon, a practice that has been in place for nearly a quarter-century. In another regard, Rave On Buddy Holly is quite different. Encouraged by producer Randall Poster, the 19 artists involved do not settle for mere replications of Buddy’s hits, they play fast and loose, sometimes radically reinterpreting the original. Often, the effort is appreciated even when the rearrangement doesn’t quite work, as on Karen Elson's overly ornate “Crying, Waiting, Hoping” or Lou Reed’s turgid grind through “Peggy Sue.” Yet even if these particular cuts don’t click, they nevertheless sound faithful to both the artist and Holly, a trick that’s usually not pulled off on tribute albums yet often is here. This is as true of Nick Lowe’s casually straight-ahead “Changing All Those Changes” as it is of Florence & the Machine's “Not Fade Away,” which strips the tune of its signature Bo Diddley beat, and the pleasures of the album lie in discovering which direction an artist choose to follow: to discover Julian Casablancas turning “Rave On” into a Phrazes for the Young outtake, to hear Kid Rock try to wrestle “Well All Right” into the confines of a Stax stomper, to hear Modest Mouse work a handful of tempos into “That’ll Be the Day,” to hear Paul McCartney go inexplicably batty on his slow-grooving “It’s So Easy.” ~ Stephen Thomas Erlewine
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Film Soundtracks - Released April 14, 1978 | Polydor Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 2012 | Deutsche Grammophon (DG)

Distinctions Choc de Classica
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Film Soundtracks - Released March 3, 2014 | Abkco Music & Records, Inc.

Distinctions The Qobuz Ideal Discography
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Classical - Released May 15, 2015 | Decca Music Group Ltd.

Booklet Distinctions Diapason d'or
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Jazz - Released November 16, 2018 | Verve

Hi-Res Distinctions 5 Sterne Fono Forum Jazz
"This version of SGT PEPPER'S treats the Beatles' originals like colorful clothes worn by today’s most electrifying jazz musicians, who give these old chestnuts a new body and vitality."
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Pop - Released January 1, 2002 | Moulin Rouge - Interscope

Distinctions The Qobuz Ideal Discography
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Film Soundtracks - Released January 1, 2009 | Universal Music France Digital Only

Distinctions The Qobuz Ideal Discography
The soundtrack to Quentin Tarantino's darkly funny crime classic Pulp Fiction manages to re-create the film's wildly careening sense of style, violence, and humor by concentrating on the surf music that comprises the bulk of the movie's incidental music and adding a few sexy oldies integral to the film's story ("Let's Stay Together," "Son of a Preacher Man," "You Never Can Tell"). Of course, the inclusion of dialogue and Urge Overkill's seductive cover of Neil Diamond's "Girl, You'll Be a Woman Soon" doesn't hurt either. ~ Stephen Thomas Erlewine
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Film Soundtracks - Released January 1, 2013 | The Secret Life of Walter Mitty

Hi-Res Distinctions Hi-Res Audio
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Film Soundtracks - Released January 1, 1978 | Island Def Jam

Distinctions The Qobuz Ideal Discography
€55.99

Soul - Released October 19, 2018 | Craft Recordings

Distinctions 4F de Télérama
1968 was a pivotal year in Stax Records' history and a fascinating story in itself. Otis Redding (their biggest star) and four members of the Bar-Kays were killed in a plane crash in December 1967. Their distribution agreement with Atlantic Records was dissolved, resulting in the loss of several more artists from Atlantic, and in the loss of their entire back catalog to Atlantic, which meant Stax earned no revenue from its previous recordings. Then, the assassination of Dr. Martin Luther King, Jr. in Memphis exacerbated racial tensions not just nationwide, but acutely in Stax's hometown of Memphis (King was in Memphis to support striking sanitation workers). Rising from the ashes, Stax had an ambitious plan to create an entirely new catalog in just over a year. Otis Redding's posthumous classic "Dock of the Bay" was a tremendous help in getting the label off the ground again. But the model of a house band and single producer that had given Stax their legendary sound was not going to work for the amount of material that had to be created in order to give them a solid catalog. To that end, they had to bring in outside producers, which began to upset what had essentially been a cooperative up to that point. At the same time, the music business was shifting from singles sales to album sales, and Stax was keen to make that transition as well. All this is extensively chronicled in the accompanying book. As far as the music, it's all top-notch, but you can hear the change in sound taking place. Of course, there are songs you recognize, but there are at least as many that you probably don't. Despite the pervasive unrest, the songs never get overtly political. Even "Tribute to a King" isn't about Dr. King, but about the King of Soul Music, their friend Otis Redding. The music stands on its own, of course, but the story behind it all is remarkable and largely untold. Stax '68 is a great collection of music, and this excellent set places it in a proper historical context, telling the story of the rebirth of one of America's great soul labels. ~ Sean Westergaard
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Film Soundtracks - Released January 1, 2002 | Geffen*

Distinctions The Qobuz Ideal Discography
The soundtrack to Quentin Tarantino's darkly funny crime classic Pulp Fiction manages to re-create the film's wildly careening sense of style, violence, and humor by concentrating on the surf music that comprises the bulk of the movie's incidental music and adding a few sexy oldies integral to the film's story ("Let's Stay Together," "Son of a Preacher Man," "You Never Can Tell"). Of course, the inclusion of dialogue and Urge Overkill's seductive cover of Neil Diamond's "Girl, You'll Be a Woman Soon" doesn't hurt either. ~ Stephen Thomas Erlewine
€6.99

Film Soundtracks - Released January 1, 1985 | EMI - EMI Records (USA)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 2013 | Decca Music Group Ltd.

Distinctions Diapason d'or
Presented on 54 CDs, this set of Decca's acclaimed analogue recordings is a reissue of historical significance because it documents the label's innovations in audio reproduction. The development of full frequency range recording and stereophonic sound (known as ffss) made Decca a world leader in classical recordings, and the pre-digital recordings from the 1950s, '60s, and '70s have been specially remastered for this CD collection. Each album appears with its original cover art, and the variety of music ranges from great symphonies and other orchestral masterpieces to opera, as well as chamber and keyboard music, performed by the great artists on Decca's roster, including Antal Doráti, Georg Solti, Pierre Monteux, Josef Krips, Willi Boskovsky, and Herbert von Karajan, among many others.
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Film Soundtracks - Released January 1, 2010 | Interscope

Distinctions The Unusual Suspects
Ironically, the best argument for the music found on Treme: Music from the HBO Original Series is made in New Orleans' writer Joshua Jackson's annotation to one of the few non-New Orleans-associated songs on the set, Steve Earle's "This City." He writes: "Treme's music production team made a special effort to place songs in the series that followed the real timeline of late 2005-early 2006." Series co-creators David Simon and Eric Overmyer used the music in Treme in a similar fashion to the way they did in The Wire, but exponentially so. Music is a character in and of itself here: it paints places, and deepens perceptions about individual characters -- and Treme is arguably the most character-driven drama (deliberately at the expense of plot) ever to be shown on television. The music included here celebrates the musical diversity of New Orleans and Treme as traditions have been passed down from the neighborhood where jazz was born and where blues, Cajun, and folk musics have flourished to the present post-Katrina era. Beginning with the theme "Treme Song," written and performed by pianist John Boutté, through Troy (Trombone Shorty) and James Andrews' wild reading of "Ooh Poo Pah Doo," the Irma Thomas-Allen Toussaint collaboration on "Time Is on My Side," Tom McDermott and Lucia Micarelli's "New Orleans Blues," Kermit Ruffins' "Skokiaan," and the Rebirth, Treme, Soul Rebels, and Free Agents Brass Band performances, the music is saturated with joy, celebration, pain, sadness, soul, and the ferocity of defiance. This is underscored by three very different versions of "Indian Red" (the sacred song of New Orleans' Mardis Gras Indians). One is by Dr. John with a full-on band, another is by jazzman Donald Harrison, Jr. (Big Chief of the Congo Nation Indian Tribe), and another is by actor Clarke Peters -- who plays an Indian chief -- leading a chant with the heads of Mardis Gras Indian Tribes. One of the Treme's most famous sons, Louis Prima, is represented by "Buena Sera"; actor Steve Zahn and friends offer a delightful cover Smiley Lewis' "Shame, Shame, Shame"; and star Wendell Pierce sings a quietly beautiful "I Don't Stand a Ghost of a Chance with You." Lil' Queenie & the Percolators' 1988 reading of "My Darlin New Orleans" closes it on a high note. As a soundtrack, this volume represents what's best about Treme; as a listening experience, it is pure pleasure. ~ Thom Jurek
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Jazz - Released June 16, 2017 | Universal Music Division Decca Records France

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
Charlie Parker's influence on all jazz musicians has always been peerless. And it goes far beyond saxophonists... That is more or less what Larry Klein was trying to convey with his work The Passion Of Charlie Parker. The producer even describes this project as a piece of musical theatre telling the story of his life, creating a musical language that allows one to imagine what the Bird's music might sound like if he was playing it today. "Lyrically, Klein explains, I worked with David Baerwald, a songwriter with whom I have worked extensively, and known for his albums with his own group David and David, and a songwriter with the lyrical facility to write programmatic material to the unusually jagged melodic nature of Charlie Parker’s compositions. We worked together to create a narrative thread that runs through the album, and to create a tableau where the songs are delivered by a number of characters from Charlie's life, as well as three that are delivered in Charlie's own voice, played by Jeffrey Wright. " This adventure brings together Donny McCaslin, who, alongside guitarist Ben Monder and drummer Mark Giuliana, worked on David Bowie's last album, Blackstar. The trio is backed up by other demanding jazzmen like Eric Harland, Craig Taborn, Larry Grenadier and Scott Colley. In terms of vocals, Larry Klein has opted for a pleasant eclecticism, taking in some of the singers he has worked with in the past: Barbara Hannigan, Gregory Porter, Melody Gardot, Luciana Souza, Madeleine Peyroux, Kurt Elling, Kandace Springs and Camille Bertault. The originality of the Passion Of Charlie Parker means that it spares the public yet another album of polished, taxidermical Bird covers. But, above all, it is the spirit of this record and its production which makes it an interesting work, which strays far from the beaten track. © MD/Qobuz
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Classical - Released September 11, 2015 | ECM New Series

Booklet Distinctions Choc de Classica