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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Blues - Released January 1, 1973 | Geffen*

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Blues - Released January 1, 1974 | Geffen*

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Blues - Released January 1, 2003 | Geffen*

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B.B. King was 77 years old when Reflections was released, which perhaps entitled him to reflect back on the song standards the album contained. Despite advancing age, King had already been unusually busy on the recording front for a septuagenarian, turning out the gold-selling duets album Deuces Wild in 1997, Blues on the Bayou in 1998, Let the Good Times Roll: The Music of Louis Jordan in 1999, the double-platinum Riding With the King with Eric Clapton and Makin' Love Is Good for You in 2000, and the seasonal recording A Christmas Celebration of Hope in 2002. For Reflections, he again worked with Simon Climie, who produced Riding With the King, and collaborated with a session band including such notables as Joe Sample, Nathan East, and Doyle Bramhall II. The songs ranged from pop evergreens like "I'll String Along With You" and "For Sentimental Reasons" to blues favorites such as Lonnie Johnson's "Tomorrow Night," with oddities like "Always on My Mind" thrown in and even a couple of remakes of the earlier King songs "Word of Honor" and "Neighborhood Affair." The arrangements, which included horn and string parts, left room for King's distinctive blues guitar work, but really supported his always expressive voice. The result was a confident, easygoing album that stylistically could have been made in 1953 as easily as 2003. Blues purists and aficionados of blues guitar would find it only partially satisfying, but it reflected the breadth of musical taste of an artist who always played the blues but never restricted himself only to blues music or blues fans. ~ William Ruhlmann
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Blues - Released January 1, 2003 | Geffen*

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Blues - Released January 1, 1965 | Geffen*

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Blues - Released January 1, 1965 | Geffen*

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B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues. ~ Daniel Gioffre
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Blues - Released January 1, 1964 | Geffen*

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Muddy's "unplugged" album was cut in September of 1963 and still sounds fresh and vital today. It was Muddy simply returning to his original style on a plain acoustic guitar in a well-tuned room with Willie Dixon on string bass, Clifton James on drums, and Buddy Guy on second acoustic guitar. The nine tracks are divvied up between full rhythm section treatments with Buddy and Muddy as a duo and the final track, "Feel Like Going Home," which Waters approaches solo. What makes this version of the album a worthwhile buy is the inclusion of five bonus tracks from his next two sessions: An April 1964 session brings us Willie Dixon's "The Same Thing" and Muddy's "You Can't Lose What You Never Had," while the October 1964 session features J.T. Brown on sax and clarinet on "Short Dress Woman" and "My John the Conqueror Root," as well as "Put Me in Your Lay Away," another strong side. Folk Singer offers both sides of Muddy from the early '60s. ~ Cub Koda
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Blues - Released January 1, 1964 | Geffen*

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