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 - To be released April 26, 2019 | Provogue Records

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Blues - To be released March 8, 2019 | Easy Eye Sound

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Blues - Released January 25, 2019 | Blue Note

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Her hoarse, unique voice is gripping from the start. A voice like a descendant of Nina Simone wrapped up in a coat sewn in New Orleans. Following in the footsteps of her illustrious elder, Sarah McCoy is like a fairground attraction. A soul diva with blond mane, inhabited by the most poisonous ghosts of jazz, blues, folk and rock'n' roll. A strong personality burdened by the torments of life. Like a second cousin of Billie Holiday, Amy Winehouse, Tom Waits or Janis Joplin, or even good old Dr. John... After singles and concerts where the intense McCoy revealed her raging side, her album Blood Siren, produced by Chilly Gonzales and Renaud Letang, is contrastingly calm. A calm facade of course. A rage that’s controlled on the outside but still very real on the inside. Sometimes, the American woman's playing has the naivety and sincerity of pieces played on a toy piano. Perhaps a way to highlight the childish despair of her songs. The Death Of A Blackbird, a superb instrumental that testifies to her classical training, reveals a certain solitude. The shamanic Devil's Prospects feels like a New Orleans voodoo tale, with all the stickiness of the night and flavors of gin woven in... Take your time to understand Blood Siren. Soak up its melodies and lyrics. This lady easily could have played her larger than life card. She could have belted down the microphone to attract onlookers. Sarah McCoy proves with this record that her art is deeper and will last longer than an evening spent at the circus... © Marc Zisman/Qobuz
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Blues - Released January 11, 2019 | Stormy Monday Records

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Blues - Released December 23, 2018 | iM Foolish King

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Blues - Released December 20, 2018 | Estudios Centrales de Mi Habitación

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Blues - Released November 16, 2018 | Silence Wireless

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Blues - Released September 28, 2018 | Playful Dog Records

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Blues - Released September 14, 2018 | Naïve, a division of Believe

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Blues - Released August 20, 2018 | KUL2RA

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Blues - Released May 28, 2018 | Moonshiners

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Blues - Released April 6, 2018 | H. P. Johnson Presents

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Blues - Released October 6, 2017 | 21st Century Blues Records

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Blues - Released September 8, 2017 | Concord Records, Inc. (UMG Account)

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Blues - Released September 1, 2017 | Provogue

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66 years on, Walter Trout has still got the blues - and just as well! Even after a nasty bout of Hepatitis C, the New Jersey guitarist is still shooting at anything that moves, Stratocaster in hand, and representing a genre of which he is one of the most faithful servants of our times. With the well-named We're All In This Together, the old hired gun who had worked with such big names as Percy Mayfield, Deacon Jones, John Lee Hooker or even Joe Tex, and who had been a part of Canned Heat in the 1980s, is having some fun, bringing his orgiastic guitar playing into a furious assembly of close collaborators. He is joined by - do not adjust your set - Kenny Wayne Shepherd, Sonny Landreth, Charlie Musselwhite, Mike Zito, Robben Ford, Warren Haynes, Eric Gales, Edgar Winter, Joe Louis Walker, John Nemeth, Randy Bachman, John Mayall, Joe Bonamassa and his son Jon Trout! The list of co-performers alone should give a good idea of the avalanche of solos that will engulf listeners. Mind-blowing! © CM/Qobuz
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Blues - Released August 4, 2017 | Concord Records, Inc. (UMG Account)

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Lay It on Down feels like an intentional retort to Goin' Home, Kenny Wayne Shepherd's 2014 back-to-the-blues platter. Although Shepherd never abandons the blues, either as a color or a sensibility, he expands his palette considerably on this 2017 album, opening himself up to soul, country, and hard rock. Working with producer Marshall Altman for the first time, Shepherd takes pains to make Lay It on Down feel like a classic rock record, recording on analog and keeping its ten tracks weighing in at a tight 41 minutes. Another old-fashioned hallmark flaunted on Lay It on Down is how the focus is on vibe, Shepherd digging into the grooves even when the song is a sepia-toned bit of folk-rock. Naturally, there is plenty of space for chops and solos, but Shepherd shows restraint, riding the rhythms of his Southern soul vamps, nocturnal riffs, backwoods picking, and gospel ballads. This variety, when melded with such tasteful execution, turns Lay It on Down into not only one of Shepherd's richest records but one of his best. ~ Stephen Thomas Erlewine
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Blues - Released August 4, 2017 | New Rounder

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Essentially, George Thorogood has spent most of his career making the same sort of album over and over again, and if anyone knows how to put together a solid set of barroom-friendly, beer-drinking, hard-rockin' boogie blues, it's him. But on his 14th studio album, Thorogood has decided to change things up; Party of One marks the first time he's made an album without his band the Destroyers, and here he plays a set of blues, country, and folk covers with only his own guitar and harmonica for accompaniment. Thorogood brings out his electric guitar for a few cuts, but most of Party of One is just George and his acoustic, and the bulk of this sounds like it was recorded live in the studio, with the occasional flubbed note left in the mix. Thorogood began his career as a street busker, and in a way, this album plays as a guide to his earliest (and strongest) influences, with several John Lee Hooker tunes dotting the set list along with classic numbers by Willie Dixon, Elmore James, Robert Johnson, and the Rolling Stones, as well as less expected contributions from Hank Williams, Johnny Cash, and Bob Dylan. The tracks where Thorogood cranks up his amp and gives the tunes his trademark buzzy, growling tone are the most effective, or at very least find him doing what he's always done best. Thorogood is somewhat less deft as an acoustic guitarist, though despite the occasional missed note he generally fares well unplugged, and while he sometimes strains to hit the high notes, as a vocalist he displays a genuine love for the material and his passion overcomes his limitations. Party of One suggests Thorogood has had his greatest success playing rowdy electric blues-rock for a reason -- it's clearly his strong suit -- but 40 years after the release of his debut album, the guy is more than entitled to a change of pace. As a look back at his roots as well as a detour into more subtle territory, it's an experiment that succeeds far more often than it fails. ~ Mark Deming
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Blues - Released May 19, 2017 | iM Alex Massmedia

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