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Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Note 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

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Rock - Released June 19, 2020 | Reprise

Hi-Res Distinctions Pitchfork: Best New Reissue
Neil Young's "lost album," Homegrown, gets its debut 41 years late. Young shelved it because he "just couldn't listen to" the heartache, which followed the collapse of his romance with actress Carrie Snodgress. Meant to fall between Harvest and Comes a Time, the 1974 time capsule fits neatly in that space. "Separate Ways" and "Try," both featuring drums by Levon Helm, truly feel like an extension of Harvest: the former a noir-country lament and the latter an ambling plea for love lifted aloft by Emmylou Harris' backing vocals. Throughout, train-whistle harmonica is a Greek chorus, popping up on the gorgeous and hopeless "Star of Bethlehem" ("All your dreams and your lovers won't protect you") and stripped-bare "Love Is a Rose"—which would be made famous in '75 by Linda Ronstadt and here ends with urgent guitar chords like exclamation points of warning. There are moments of indulgence—you're safe to skip any title that's the name of a place—but also songs that stand with his best. The blistering "Vacancy" ("You poison me with that long, vacant stare") and high-lonesome "White Line," with Robbie Roberston, aren't to be missed. © Shelly Ridenour/Qobuz
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Alternative & Indie - Released November 15, 2019 | Audika Records

Hi-Res Booklet Distinctions Pitchfork: Best New Reissue
Legend has it that when Arthur Russell submitted his demos to Warner Bros in 1979, the tapes were rejected by a junior A&R executive with the critical note, "This guy's in trouble." As for his vocals and a general synopsis of his music he wrote, "Who knows what this guy is up to. You figure it out." What Russell was up to with his prolific and multi-faceted music was so far ahead of his time that he would die before being widely recognized as an innovator and a visionary by new generations of fans. Russell died from AIDS-related illness in 1992 at age 40 and spent his short life tirelessly pursuing songwriting and composition that would embrace avant-garde tendencies, radio pop, disco grooves, modern classical, and more. He left behind an impressive official discography and a truly staggering number of demos, home recordings, and other unreleased material. Iowa Dream is a collection of some of these tracks, focusing on demos made for Mercury Records in 1974, but including work from the early '70s until 1985. The collection follows a similar flow to 2008's excellent, country-tinged Love Is Overtaking Me, which also collected unreleased tracks. Russell's work from the early '70s aimed for the commercial success of Jackson Browne, James Taylor, Carole King, and other singer/songwriters that were dominating the charts. Songs like "Wonder Boy," "Everybody Everybody," and the tender piano ballad "You Are My Love" all tend toward this straightforward singer/songwriter vein. Some of the same country-folk twang that shone through on Love Is Overtaking Me continues in the traditionally modeled "I Wish I Had a Brother" and "I Never Get Lonesome." Though it doesn't move chronologically, Iowa Dream does an excellent job of illustrating Russell's hyperactive and genre-bending muse. Experimental tendencies show up on the spoken group vocals and frenetic horn arrangements of "Barefoot in New York," and his solitary post-disco production side comes through on mid-'80s songs like the Talking Heads-ish "List of Boys" and the wobbly filtered bassline of "You Did It Yourself." The rowdy title track begins with vocalizations of farm animals before launching into peppy pop made up of spirited cello, Farfisa organ, and zooming drum fills. The 19 tracks here are all over the place, true to form for Russell and his ever-expanding inspirations. These demos never landed him a major-label contract, but it's hard to imagine what a major label of the mid-'70s or early '80s would have done with music this far ahead of the curve. For all the fans who discovered Russell after his passing, collections like Iowa Dream are bittersweet time capsules, holding new evidence of his one-of-a-kind talents that still occupy a space all their own, even when unearthed decades later. © Fred Thomas /TiVo
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Pop - Released June 7, 2019 | Rhino - Warner Records

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Reissue
Following the piano compositions from Piano & A Microphone 1983 released in 2018, we now have a second posthumous, princely album. Originals is centred around the 1981-1991 decade which was particularly prolific for Prince and so there is a beautiful unity throughout the album which mainly comprises of recordings of songs written for others. Rogers Nelson was first and foremost a very accomplished, versatile artist who could play all the instruments in Purple Rain just as well as he performed on stage, like his idol James Brown, for whom he composed numerous songs. He also composed songs for many other outstanding performers in the “Prince world” and among the fifteen tracks in this album are The Glamorous Life written for Sheila E, the Bangles’ Manic Monday, Martika’s Love Thy Will Be Done and You’re My Love for country crooner Kenny Rogers. With its priceless, unreleased tracks, Originals gives a sneak-peak behind the scenes of the studio in which this legendary icon produced some of the very best melodies and sang them with real panache, without really knowing what would become of them. The perfect example of this has to be Nothing Compares 2 U, the real emotional peak of this opus. © Charlotte Saintoin/Qobuz
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Pop - Released September 14, 2018 | Warner Records

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Reissue
Two years after his premature death, Prince’s Ali Baba cave has offered up its first treasure. With the aptly named album Piano & A Microphone 1983, it’s with the simplest devices that his art is heard. At only 25 years old, Prince had already released five albums (For You, Prince, Dirty Mind, Controversy and 1999) and was just about to release the album that would turn him into a global star, Purple Rain. The multi-instrumentalist spent his days and nights in the studio and we find him here alone at the piano for a medley of personal compositions and two covers: Joni Mitchell’s A Case Of You and the gospel song Mary Don’t You Weep. The intimate context of this recording only amplifies the intensity of this unpublished work. Just close your eyes and you’ll find yourself alone with Prince…With his elastic voice and skilled playing, the musician from Minneapolis proves to those who doubted him that he was a true artist; both entertainer and composer, showman and improviser. His stripped back version of Purple Rain touches on the sublime and the track Strange Relationship gives an insight into the evolution of his productions, as four years later the track appeared, more muscular this time, on the album Sign o’ the Times. While Piano & A Microphone 1983 may be primarily aimed at Prince fans, novices – if there are any left – will no doubt enjoy discovering this impressive artist. © Marc Zisman/Qobuz
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Alternative & Indie - Released September 14, 2018 | Because Music

Hi-Res Distinctions Pitchfork: Best New Reissue
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Rock - Released April 21, 2018 | Reprise

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Reissue
Tonight’s The Night is one of the greatest dark albums in the history of rock’n’roll. Within six month, Neil Young lost two close friends to overdoses: his guitarist Danny Whitten and his roadie Bruce Berry. It explains why the album he recorded soon after, in August and September 1973 (which was only released in June 1975, after On The Beach), was so dark… The introspective trip of Tonight’s The Night feeds on these personal tragedies and blends them with the oppressive atmosphere that reigned in the US at the time. Urban violence, rampant drug use, Vietnam War and faltering hippie utopia all contributed to his sombre yet sublime and poignant partition. Even the instrumentation of Tonight’s The Night is wavering between a flickering piano and a thrifty pedal steel guitar. A stripped-bare style to better highlight the beauty of the melodies on moving ballads like Tired Eyes, New Mama and Borrowed Tune… On September 20th, 21st and 22nd of 1973, Neil Young and his musicians, baptised the Santa Monica Flyers (with Ben Keith on the pedal steel guitar, Nils Lofgren on the guitar and piano, Billy Talbot on the bass and Ralph Molina on drums), stepped onto the stage of Roxy, a brand-new club in West Hollywood, Los Angeles. In their hands, this new repertoire that stunk of death and sulphur, but the versions they delivered to the Californian public were bursting with true emotional power, real warmth and, at times, a sincere and communicative joy that was – logically – absent from the studio versions. That’s the true magic of this unearthed and restored archive. And while Neil Young’s fans will no doubt have this Roxy − Tonight’s The Night Live on repeat, newcomers can also jump on this stunning bandwagon and discover the universe of a unique musician who was, at the time, on top of his game and writing. © Marc Zisman/Qobuz
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Alternative & Indie - Released November 10, 2017 | Craft Recordings

Hi-Res Booklet Distinctions Pitchfork: Best New Reissue
There’s a ‘before and after’ Out Of Time in the life of R.E.M. This ‘before’ for Michael Stipe’s band is mainly found on university campuses where the group gained a cult following in the ‘80s… How then did R.E.M. manage to sell 12 million copies of Out Of Time to the world? The answer is that this record was both sublime and austere. An uncompromising album, like the chamber rock such as Nirvana and the Pixies that you’d blast out without caring about pissing off the neighbours in that year of 1992… Always virtuosic, Peter Buck goes from the mandolin to the acoustic guitar with great ease, John Paul Johns from Led Zeppelin sublimely arranges refined chords and Michael Stipe shines with his melancholic and tortured prose with the candor of a man with self-assured belief. Cinemascope ballads prevail, peaking with Everybody Hurts. It must be said, Automatic For The People is not the most easy-flowing album by R.E.M. but it is one of the most beautiful. Released in 2017, this 25th anniversary edition also offers, alongside the remastered album, a live recording from the 40 Watt Club in Athens on the 19th November 1992 with some cover versions like Funtime by Iggy Pop and Love Is All Around by The Troggs. © MD/Qobuz
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Alternative & Indie - Released June 23, 2017 | XL Recordings

Hi-Res Distinctions Pitchfork: Best New Reissue
Twenty years after its summer 1997 release, OK Computer re-emerges clothed in light. In this two-part reissue: a first disc with the remastered original album; a second, 11-track disc made up of B-sides and previously unreleased titles. The sort of release that has fans in a frenzy... After the admittedly perfect classicism of The Bends (1995), Radiohead took a sort of swan dive into the ocean of a distinctly more experimental type of rock. Like revisited prog rock, subtly undermined by snatches of electronic music, OK Computer is never a mere mad scientist's laboratory, experimenting just for the fun of it. Underneath the atmospheric layering, behind the patchworks of textures inherited from Pink Floyd, R.E.M. or even Teuton krautrock (Neu! and Can spring to mind), the Oxford group never lets its attention stray from the writing. Between Thom Yorke's tortured but often lyrical (Exit Music (For A Film)) and always distinctive voice (Karma Police) and Jonny Greenwood's avant-garde guitar lines (Subterranean Homesick Alien), this third album keeps listeners on their toes. OK Computer reached a pinnacle of inventiveness, with bold harmonies, groundbreaking production and inventive instrumentation. It left its mark on its time and will continue to influence masses of groups and musicians...The second disc in OK Computer OKNOTOK 1997 2017 contains eight B-sides (Lull, Meeting In The Aisle, Melatonin, A Reminder, Polyethylene (Parts 1 & 2), Pearly, Palo Alto and How I Made My Millions) and three previously unreleased tracks (I Promise, Man Of War and Lift). Recorded in March 1998 at the Abbey Road Studios in London, Man Of War was originally intended to be on the soundtrack of the big-screen adaptation of The Avengers with Uma Thurman and Ralph Fiennes, but the group was unhappy with the result and shelved the song. However glimpses of the title's recording footage can be seen in the documentary Meeting People Is Easy. Radiohead began performing on stage in 1996 with I Promise and Lift, on a US tour as the opening act for Alanis Morissette. Hard to fathom how Lift and its heady melody did not end up on the final tracklisting of OK Computer. © MD/Qobuz
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Rock - Released June 10, 2016 | Legacy Recordings

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Reissue
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Pop/Rock - Released November 6, 2015 | Columbia - Legacy

Hi-Res Distinctions Pitchfork: Best New Reissue
The wonderful Bob Dylan Bootleg Series continues, this time over the period 1965-1966. The Cutting Edge, the twelfth episode of the collection, contains unreleased studio recordings, never before heard songs, out-takes, rehearsal songs and alternate versions recorded during the sessions of Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde. More importantly, The Cutting Edge: The Bootleg Series Vol. 12 1965-1966 offers a rare view of the songwriter while in studio. This 6CD Deluxe Edition includes premium full sessions of Like A Rolling Stone. Obviously, one is tempted to book this type of publication to Dylan's hardcore fans because being ready to take on twenty versions of the same song, fantastic as it is, is a very specific ability. Yet The Cutting Edge: The Bootleg Series Vol. 12 1965-1966 offers a perspective into the creative process of one of the greatest artists of the twentieth century. A journey which therefore has no price. © MD / Qobuz
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Rock - Released October 24, 2014 | Atlantic Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Alternative & Indie - Released July 14, 2014 | 4AD

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
Deciding to scale back the overly pretty sound on Blue Bell Knoll while experimenting with more accessibility -- -- the Twins ended up creating their best album since Treasure. From the start, Heaven... is simply fantastic: on "Cherry-Coloured Funk," Guthrie's inimitable guitar work chimes leading a low-key but forceful rhythm, while Raymonde's grand bass work fleshes it out. Fraser simply captivates; her vocals are the clearest, most direct they've ever been, purring with energy and life. Many songs have longer openings and closings; rather than crashing fully into a song and then quickly ending, instead the trio carefully builds up and eases back. These songs are still quite focused, though, almost sounding like they were recorded live instead of being assembled in the studio. Due credit has to be given to the Cocteaus' drum programming; years of working with the machines translated into the detailed work here, right down to the fills. "Fifty-Fifty Clown," starting with an ominous bass throb, turns into a lovely showcase for Fraser's singing and Guthrie's more restrained playing. But the Twins don't completely turn their back on Knoll's sound; "Iceblink Luck," has the same lush feeling and a newfound energy -- the instrumental break is almost a rave-up! -- and everything pulses to a fine conclusion. There are many moments of sheer Cocteaus beauty and power, including the title track, with its great chorus, and two spotlight Guthrie solos: "Fotzepolitic," a powerful number building to a rushing conclusion, and the album-ending "Frou Frou Foxes in Midsummer Fires." Possessing the same climactic sense of drama past disc-closers as "Donimo" and "The Thinner the Air," it's a perfect way to end a perfect album. © Ned Raggett /TiVo
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Alternative & Indie - Released June 24, 2014 | Touch and Go Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Alternative & Indie - Released January 1, 2013 | Geffen

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio - Pitchfork: Best New Reissue
HI-RES€48.99€52.48(7%)
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Pop - Released January 1, 2013 | UMC (Universal Music Catalogue)

Hi-Res Distinctions Hi-Res Audio - Pitchfork: Best New Reissue
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Pop/Rock - Released June 1, 2012 | Legacy Recordings

Hi-Res Distinctions Exceptional Sound Recording - Pitchfork: Best New Reissue
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Rock - Released February 24, 1975 | Atlantic Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Rock - Released November 8, 1971 | Atlantic Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Rock - Released October 5, 1970 | Atlantic Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Rock - Released October 22, 1969 | Atlantic Records

Hi-Res Distinctions Pitchfork: Best New Reissue