Qobuz’s experts gather all the essentials of each genre. These albums have marked music history and become major landmarks.

With the Ideal Discography you (re)discover legendary recordings, all whilst building on your musical knowledge.

Albums

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Classical - Released August 3, 1988 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Rap/Hip-Hop - Released September 8, 2017 | Melee - Wild Pitch

Distinctions The Qobuz Ideal Discography
Masterpiece alert! When the first album from the trio Main Source came out at the height of the summer of 1991, the group formed by New York MC Large Professor and Canadian DJs Sir Scratch and K-Cut from Toronto were already very well-respected on the hip hop underground. Written and recorded throughout the previous year, with the legendary E-mu SP-1200 sampler, Breaking Atoms marked a turning point in rap, in particular with its production that held up sturdily against an avalanche of jazz, soul and funk samples. We encounter snatches of song from Donald Byrd, Bob James, Mike Bloomfield, Johnny Taylor, Lou Donaldson, Lyn Collins, MFSB, Kool & The Gang, the Three Sounds, Lou Courtney, S.O.U.L., Funk, Inc. and the Detroit Emeralds. Funky to the point of madness, Large Professor's flow and the subtlety of his punchlines set the album apart from the competition. Breaking Atoms is a major record of golden era hip hop, and also legendary for the début, on Live at the Barbeque, of a young rapper of 17 named Nas… This remaster of Breaking Atoms includes several bonus tracks, like the grandiose single Fakin' the Funk, released in 1992 on the soundtrack to White Men Can't Jump, and carried by its sample of Magic Shoes by The Main Ingredient. © Marc Zisman/Qobuz
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Full Operas - Released June 16, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - The Qobuz Ideal Discography
' This set... put into the hands of those who have not yet unlocked the paradise of Mozartean opera, is worth... what ? A year at a foreign university ? I don't believe I exaggerate.' (Gramophone)
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Rock - Released June 2, 2017 | Virgin Catalog (V81)

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Rock - Released March 18, 1977 | Virgin Records

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Rock - Released March 18, 1977 | Virgin Records

Hi-Res Distinctions The Qobuz Ideal Discography
In 1976, the Stooges had been gone for two years, and Iggy Pop had developed a notorious reputation as one of rock & roll's most spectacular waste cases. After a self-imposed stay in a mental hospital, a significantly more functional Iggy was desperate to prove he could hold down a career in music, and he was given another chance by his longtime ally, David Bowie. Bowie co-wrote a batch of new songs with Iggy, put together a band, and produced The Idiot, which took Iggy in a new direction decidedly different from the guitar-fueled proto-punk of the Stooges. Musically, The Idiot is of a piece with the impressionistic music of Bowie's "Berlin Period" (such as Heroes and Low), with it's fragmented guitar figures, ominous basslines, and discordant, high-relief keyboard parts. Iggy's new music was cerebral and inward-looking, where his early work had been a glorious call to the id, and Iggy was in more subdued form than with the Stooges, with his voice sinking into a world-weary baritone that was a decided contrast to the harsh, defiant cry heard on "Search and Destroy." Iggy was exploring new territory as a lyricist, and his songs on The Idiot are self-referential and poetic in a way that his work had rarely been in the past; for the most part the results are impressive, especially "Dum Dum Boys," a paean to the glory days of his former band, and "Nightclubbing," a call to the joys of decadence. The Idiot introduced the world to a very different Iggy Pop, and if the results surprised anyone expecting a replay of the assault of Raw Power, it also made it clear that Iggy was older, wiser, and still had plenty to say; it's a flawed but powerful and emotionally absorbing work. ~ Mark Deming
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French Music - Released April 8, 2003 | Believe

Distinctions The Qobuz Ideal Discography
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French Music - Released January 1, 1974 | Believe

Distinctions The Qobuz Ideal Discography
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Electronic/Dance - Released May 5, 2017 | Sony Music CG

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Opera - Released January 1, 1966 | Deutsche Grammophon (DG)

Hi-Res Distinctions Choc de Classica - The Qobuz Ideal Discography
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Rap/Hip-Hop - Released April 14, 2017 | Aftermath

Booklet Distinctions 4F de Télérama - The Qobuz Ideal Discography - Pitchfork: Best New Music
To Pimp a Butterfly's proper and oft-biblical follow-up arrived on Good Friday, 13 months after untitled unmastered., an intermediary release that eclipsed the best work of most contemporary artists. If Kendrick Lamar felt pressure to continue living up to his previous output, there's no evidence on DAMN. He's too occupied tracing the spectrum of his mental states, from "boxin' demons" to "flex on swole," questioning and reveling in his affluence, castigating and celebrating his bloodline, humble enough to relate his vulnerabilities, assured enough to proclaim "Ain't none of y'all fuckin' with the flow." Throughout, he intensely examines most of the seven deadly sins, aware all along that his existence is threatened by anyone who objects to the color of his skin or clothes -- or, in the case of the blind stranger who shoots him during the album's opener, nothing that is apparent. Compared to the maximum-capacity, genre-twisting vastness and winding narratives of Good Kid, M.A.A.D. City and To Pimp a Butterfly, DAMN. on the surface seems like a comparatively simple rap album that demands less from the listener. There's relative concision in the track titles and material, and a greater emphasis on commercial sounds -- such as Mike WiLL's lean and piano-laced trap beat for the strong-arming "HUMBLE.," Lamar's first Top Ten pop hit, and a couple productions that are merely functional backdrops lacking distinction. In a way, however, DAMN. is just as lavish and singular as the preceding albums, its quantity and weight of thoughts and connected concepts condensed into a considerably tighter space. It contains some of Lamar's best writing and performances, revealing his evolving complexity and versatility as a soul-baring lyricist and dynamic rapper. Although it's occasionally distorted, stretched, smeared, and reversed to compelling and imagination-fueling effect, his voice is at its most affecting in its many untreated forms. Take "FEAR.," in which he switches between echoing hot-blooded parental threats to enumerating, with a 40-acre stare, various death scenarios. His storytelling hits an astonishing new high on "Duckworth," the album's finale. Over ethereal funk sewn by 9th Wonder, Lamar details a potentially tragic encounter between his father and future Top Dawg CEO Anthony Tiffith -- and the conditions leading to it -- that occurred long before Kung Fu Kenny was known as K. Dot. ~ Andy Kellman
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Jazz - Released March 10, 2017 | Concord Records, Inc. (UMG Account)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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R&B - Released March 3, 2017 | Sony Music UK

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Jazz - Released February 10, 2017 | Columbia - Legacy

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French Music - Released January 1, 2006 | Marianne Mélodie

Distinctions The Qobuz Ideal Discography
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Jazz - Released January 27, 2017 | Contemporary

Hi-Res Booklet Distinctions The Qobuz Ideal Discography - Jazzwise Five-star review
The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.] ~ Scott Yanow
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Jazz - Released January 1, 1958 | Riverside

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
Max Roach on drums, Oscar Pettiford on the double bass and no pianist, like the year before in Way Out West: Sonny Rollins once again blows the wind of rebellion in this masterpiece recorded on February 11th and March 7th, 1958. From the start, the most popular tenor of that time lays down a theme of over 19 minutes: his album’s title, Freedom Suite! What a freedom suite indeed! Changing rhythms, unexpected escapades, freedom of tone and recurring themes never prevent the three men from conversing intensely. The listener must surrender himself to these high-flying exchanges, rather unprecedented at that time, let themselves be carried by this lava flow that is indeed extreme (never free), but never switches off from its melodic framework, or more precisely from its narration. Freedom Suite’s other great strength is to be the album of a true trio, rather than Rollins’ whim. Both Roach and Pettiford unfold stunning rhythm designs, beefing up the album’s inventiveness. With a record of this magnitude, Sonny Rollins shakes up the limits of jazz and cries out against segregation in late-50s America. He explains it in the sleeve’s notes: “America is deeply rooted in black culture. Its colloquialisms. Its humour. Its music. How ironic that Black people, who more than any other, claim America’s culture as their own, are in fact persecuted and repressed. That black people, who have exemplified humanity in their very existence, are being rewarded with inhumanity." © MZ/Qobuz
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Alternative & Indie - Released November 18, 2016 | Concord Records, Inc. (UMG Account)

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Soul - Released November 18, 2016 | Stax

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Rock - Released November 4, 2016 | Reprise

Distinctions The Qobuz Ideal Discography