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Alternative & Indie - Released November 22, 2019 | Parlophone UK

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Ever since Coldplay started out in 1998, their leader Chris Martin has certainly not shied away from religious references. This habit, however, seems to have reached new heights with Everyday Life, the group’s eighth album. In some cases, the spiritual outbursts are characterised by a distinct (and never over-the-top) gentleness. The simple guitar/voice/birdsong track comes WOTW/POTP to mind, as does the eight-person gospel song performed with no accompaniment (BrokEn). At other points, the musical colour and content are much more lyrical, like in Church, When I Need a Friend, and Arabesque, a call for peace. This last song features Stromae (who sings in French) and the Nigerian saxophonist Omorinmade Anikulapo-Kuti. The other “big” track on the album is Orphans: over Coldplay’s typical soaring pop-rock rhythms and a large choir, Chris Martin carries the torch for forced migrants and refugees. Divided into two parts (Sunrise and Sunset), Everyday Life constantly plays with the idea of yin and yang, something which is evident even on the album cover; the quartet pose like traditional fanfare musicians next to Friedrich Nietzsche! The image appears both the right side up and upside-down. All throughout the album, Coldplay alternates between positive energy (like on the soft voice/piano song Daddy) and anger-filled denunciations of today’s social ills (such as on the rock-guitar track Guns). Towards the end of the album we find a song with an unusual title and lyrics - for a mainstream Western album that is. Entitled بنی آدم (Children of Adam in Arabic) and beginning with a melancholic waltz on the piano, the piece was inspired by Bani Adam, a text written by the Persian poet Saadi Shirazi. Chris Martin’s spiritual, benevolent way of thinking - especially evident on this album – seems to be summed up in just the first two lines: “The children of Adam are members of a whole/In creation of one essence and soul”. © Nicolas Magenham/Qobuz
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Rock - Released January 23, 2012 | Rhino - Elektra

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
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Blues - Released June 13, 2000 | Reprise

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Rock - Released December 11, 2020 | Reprise

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Soul - Released August 20, 2016 | Boys Don't Cry

Distinctions Pitchfork: Best New Music
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Folk/Americana - Released December 15, 2009 | Rhino - Warner Records

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Rock - Released March 12, 2013 | Warner Records

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Pop - Released April 13, 2004 | Rhino - Elektra

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Soul - Released February 22, 2019 | Rhino

Hi-Res Distinctions The Qobuz Ideal Discography
A guitarist worshipped by Jimi Hendrix, an insanely good falsetto singer that even Prince looked up to, an author heavily involved in the American civil rights movement and a top-tier songwriter: Curtis Mayfield was a man of many talents. His groovy symphonies helped form solid links between funk, jazz, blues, soul and traditional gospel. After making his name with The Impressions in the 60s, he embarked on a solo career in 1970. This box set named Keep On Keeping On contains the singer’s first four studio albums, each remastered in Hi-Res 24-Bit quality: Curtis (1970), Roots (1971), Back to the World (1973) and Sweet Exorcist (1974). Here, the rhythm'n'blues enjoy a second life, supported by a wah-wah guitar, careful percussion and an always airy string section. Every topic concerned is a mini-tragedy, socially engaged, anchored in traditional gospel music. The masterful arranging of these albums (especially his masterpiece Curtis, and Roots) can be considered rivals to Marvin Gaye’s What’s Going On. It is worth mentioning that this 1970-1974 box set does not include the soundtrack to Superfly, Gordon Parks Jr.’s 1972 film which contains the singles Pusherman and Freddie’s Dead. © Marc Zisman/Qobuz
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Pop - Released October 2, 2020 | Nonesuch

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American folk is a traditional affair. It’s historically patriotic. Old songs are handed down from generation to generation, evolving as they go. Musicians play together as a family, passing the torch from one to the next. Joachim Cooder is no exception to the rule. He’s Ry Cooder’s son, an incredible musician with a broad vision for folk. Joachim often played with his father and here his father accompanies him on Over That Road I’m Bound, his debut album dedicated to covering old-time musician Uncle Dave Macon’s repertoire. Macon, who was born in 1870 and died in 1952, was one of the founding fathers of folk and country. He was immediately recognisable thanks to his high-pitched nasal voice and lively banjo playing. Joachim Cooder does of course respect Macon’s sound, but he also modernises the songs, almost appropriating them. On the opening track he plays the electric mbira, a strange African-inspired instrument that’s like a cross between a xylophone and a thumb piano, with a graceful sound that sets the tone for the rest of the album. His arrangements bring Africa to mind (you can hear echoes of Vieux Farka Touré, Ali’s son on guitar) as well as Ireland and the Appalachians. The vocal harmonies glide around like a warm breeze and the string instruments (guitar, violin, banjo...) weave new patterns into the fabric of Uncle Dave Macon’s songs. The record is beautifully produced: subtle, modern, soft to the ear and never old-fashioned. Joachim Cooder is definitely his father’s son. © Stéphane Deschamps/Qobuz
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Pop - Released July 12, 2019 | Rhino - Elektra

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Instrumental and vocal firepower, the considerable ears of engineer Greg Ladanyi, and some magical mixing at the Sound Factory in Hollywood, combined to create the best known album of Jackson Browne's long career, reissued here in gloriously detailed and dynamically thrilling high resolution sound. Russ Kunkel's drum break at the climatic shift of the title track. David Lindley's mournful fiddle in "The Road." Rosemary Butler's soaring vocal solo in "Stay." A song list heavy with covers. Jackson Browne on piano. An extraordinary example of utterly masterful sequencing. Sometimes a band is in such a groove that it demands to be captured live. But making a live album that reflects being on the road, recorded literally on the road? Cutting tracks in a Holiday Inn room in Edwardsville, IL, or on a moving tour bus, complete with grinding gears? Even today with all the digital advances in home recording gear, it still seems like a disaster in the making. In addition, none of the material had ever appeared on a Browne studio record. A shambling cover of Rev. Gary Davis's "Cocaine" and a rendition of Maurice Williams' (The Zodiacs) "Stay"—with David Lindley memorably singing the falsetto part—are both knockouts. "You Love the Thunder," recorded live in Holmdel, NJ, is a classic Jackson Browne love song, one of the last before he turned to political themes. And then there’s the album's heart: the epic Lowell George/Browne/Valerie Carter collaboration, "Love Needs a Heart." It's the one tune worth having the entire record for: "Love needs a heart/And I need to find/If love needs a heart like mine." As this fresh remastering proves again, Browne and his merry band of SoCal pros better known as The Section drew a masterpiece out of the hat with Running on Empty. © Robert Baird / Qobuz
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Alternative & Indie - Released April 17, 2020 | Cooking Vinyl Limited

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Soul - Released June 20, 1995 | Rhino Atlantic

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Pop - Released September 7, 2018 | Centricity Music - 12Tone Music, LLC

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Pop - Released December 6, 1977 | Rhino - Elektra

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Alternative & Indie - Released October 9, 2020 | Warner Records

The Linkin Park phenomenon in the year 2000 confirmed the rise of nu-metal in the mainstream. Their debut album, Hybrid Theory, opened up new musical and commercial avenues, selling what’s now approaching 30 million copies. Three years after their lead singer Chester Bennington died, the time has come to celebrate. This anniversary box set contains the original album as well as Reanimation (the remixed version released two years later by the band’s guitarist and rapper Mike Shinoda) and the Hybrid Theory EP, the group’s very first album released in 1999. Following these albums we are treated to a B-sides and Rarities, making the box set a particularly interesting release. The album also showcases the band’s love for England (where their music was lapped up) with live BBC broadcasts of tracks like In the End and Papercut on which Bennington holds back on his usually-hoarse voice for a softer take. The same can’t be said for the live performances at London’s Docklands Arena where the tracks A Place In My Head and Points of Authority end up sounding like a gigantic wall of sound. Then there are the LPU Rarities, the fifth part of the box set. Composed of studio scraps and demos, it shows how Linkin Park evolved and includes Mike Shinoda’s work on drum machines and synthesizers. The group’s electronic side is emphasised here, forecasting the band’s sonic evolution and their leader’s solo career. Finally, to bring things to a close, the Forgotten Demos bring twelve unreleased tracks together from a time when Linkin Park were still called Xero. They were operating anonymously and did not yet have Chester Bennington in their ranks but rather singer Mike Wakefield. The sound was much more raw and simplistic. It’s in this final part that we find the origin of one of the most important groups of the last twenty years. © Brice Miclet/Qobuz
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Pop - Released October 23, 1992 | Reprise

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Rock - Released March 13, 2007 | Reprise

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Rock - Released April 17, 2012 | Rhino - Warner Records

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Jazz - Released June 26, 2020 | Lucky Mojo Records

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