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 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 March 8, 2019 | Easy Eye Sound

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While it wasn't unexpected given his advanced age and health, the death of gospel bluesman Leo "Bud" Welch in 2017 felt altogether too soon. The Delta bluesman from Sabougla, Mississippi had been performing for most of his life. He gigged in juke joints, opened for touring artists such as B.B. King, Howlin' Wolf, Elmore James, and John Lee Hooker, and played in church, but he didn't release an album until he was 81. 2014's Sabougla Voices was a "Sunday morning" gospel-blues album of songs he'd learned, written, or improvised on the spot. He followed it a year later with his "Saturday night sinner's record," I Don’t Prefer No Blues, and toured the globe. In 2018, he was the subject of the documentary film, Late Blossom Blues: The Journey of Leo "Bud" Welch. Welch cut The Angels in Heaven Done Signed My Name in Nashville with producer Dan Auerbach and his band the Arcs (that included the late Richard Swift), at his Easy Eye Sound label and studio in Nashville in 2015. Welch prepared 30 traditional songs he'd been playing throughout his life and cut them live from the floor with the Arcs. After his passing, Auerbach returned to the tapes, cut the selection to ten tunes, and added few overdubs. The end result is pure Welch, passionate and rootsy, from his percussive, jagged, sometimes spooky guitar playing to his elastic, gritty, vocal phrasing. Opener "I Know I Been Changed" commences solo in a droning minor-key blues, with Leon Michels' Hammond B-3, Auerbach's plodding snare/ and Dave Rose's bass. Its low-down droning vibe recalls Blind Willie Johnson's "Jesus Make Up My Dying Bed." The old chestnut "Jesus on the Mainline" is brighter, looser, a brilliant example of Welch's gospelized blues offered by three electric guitars, organ, kick drum, tom-toms, and a backing vocal chorus. It's soul stirring and nearly danceable. Contrast it with "Don't Let the Devil Ride," a cautionary, steamy, rocking trance blues that emerges from the Delta soil in the tradition of R.L. Burnside and Junior Kimbrough. "I Come to Praise His Name" is performed in shuffling stomp groove, like a rowdy revival camp meeting. The Grascals add backing vocals to the rocking country gospel of "Right on Time," which features some of Welch's most passionate singing and playing atop his band's rockabilly attack and swaying chorus vocals. "I Wanna Die Easy" is poignant in light of Welch's passing, but in its greasy, raw, presentation, this foreboding tune is a juke joint stroll. "Let It Shine" is a relaxed yet celebratory country-gospel-boogie with steel guitars, shuffling bass, and swampy organ. It there's a complaint about The Angels in Heaven Done Signed My Name, it's niggling: At only 27 minutes, Auerbach could have chosen more cuts from the 30 at his disposal. That said, what's included here offers a powerful, imposing, lasting portrait of Welch as a singular bluesman in the long, rich, Delta tradition. ~ Thom Jurek
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Blues - Released February 8, 2019 | Provogue Records

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Eric Gales spent a good portion of his career in the wilderness -- chalk it up to a combination of bad breaks and addiction -- but he came storming back in 2017 with Middle of the Road, his first album for Provogue/Mascot Records. Peaking at four on the Billboard Blues chart, Middle of the Road brought Gales back in a big way, giving him the confidence to push himself on its 2019 sequel Bookends. Working with producer Matt Wallace -- a stalwart of '90s alt-rock who worked with Maroon 5 after spending time with the Replacements and Faith No More -- Gales doesn't reinvent the wheel, but he does place a greater emphasis on singing and song than he has in the past. It's a subtle but notable difference, one that helps Bookends feel fuller and sharper than many of Gales' past albums and one that also accentuates the recovery undercurrents that flow through the album. By the time he teams up with guest vocalist Beth Hart for a slow-burning version of "With a Little Help from My Friends" -- the second notable cameo on the record, following Doyle Bramhall II's appearance on the neo-autobiographical epic "Southpaw Serenade" -- it's clear that Gales has managed to give not only familiar tunes but familiar blues-rock forms an identifiable stamp, born of both passion and precision. ~ Stephen Thomas Erlewine
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Blues - Released March 15, 2019 | Provogue Records

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Blues - To be released April 26, 2019 | Provogue Records

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Blues - Released February 1, 2019 | iM Digital (EU)

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Blues - Released March 1, 2019 | Galileo Music Communication

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Blues - Released May 5, 2017 | Concord Records, Inc. (UMG Account)

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If a decade separates Henry Saint Clair Fredericks alias Taj Mahal from Kevin Roosevelt Moore alias Keb' Mo', blues is the common thread that joins the lives of these two great musicians. But this blues is anything but monolithic, taking nourishment from soul as well as from rock'n'roll and world music. Taj Mahal and Keb' Mo' have united for the first time under the banner of TajMo to bring out this record. Mixing covers and original compositions and bringing in Bonnie Raitt, Joe Walsh, Sheila E. and Lizz Wright, the album offers two styles that mix together to give birth to a music striking the perfect balance between tradition and innovation. Here the soul is festive (That’s Who I Am), there the blues is pared-down (Diving Duck Blues) and a little further off there are Cajun flavours too (Squeeze Box). But it is the collaboration between the two men that makes TajMo really exhilarating. © CM/Qobuz
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Blues - Released June 15, 2018 | Silvertone

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Damn Right ! Who could disagree? Of course Buddy Guy has blues in the blood! The Chicago guitar legend is saying it loud on this album: The Blues Is Alive And Well! At 81 years old, he seems on better form than ever, and has a lot to teach the youth. This is a punkier, rockier bluesman than the present generation, who knows how to bring the blues to a white audience. Old fashioned? The accusation wouldn't offend Buddy Guy, who's just playing his guitar right. Here, the guitarist is discussing the blues with guests who have the stature to hold a conversation with him. Keith Richards and Mick Jagger of the Rolling Stones, Jeff Beck and James Bay feed his talent, and stay in perfect harmony with his genius. And what would be blues without talk of booze and old friends? On Cognac, Buddy Guy seems to shed twenty years when he evokes Muddy Waters. It's too late to sip a brandy with him, but now he's got Keith and others for company. Getting wasted in style, filling up on booze and the blues, dealing out a hand that can't ever end: that's the spirit of the blues. Beyond the music, there is a real discussion that starts between guitar riffs, piano chords and the singer's penetrating voice. Better than a trance, this is a stairway to the underworld opening up. And then there's such a captivating groove on The Blues Is Alive And Well. It's a grand declaration of love for the genre, which, through solitude, poverty and suffering, remains a faithful friend, a life-saver, an intimate journal. Perhaps the album should be seen as a kind of passing-onward of the blues to the generations to come. Blue No More gives a fair account of the idea. It's a duet where Buddy Guy is singing face-to-face with the Pearly Gates. It doesn't dampen his mood at all, through, because he knows that others down below will pick up his baton. And James Bay echoes his master's words back to him: "I won’t be blue no more". © Clara Bismuth/Qobuz
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Blues - Released November 30, 2018 | Provogue

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Beth Hart commands the stage with just one click of her fingers! The Californian tigress is still as feisty as ever without getting caught up in the clichés. In this live performance recorded on May 4th 2018 in London’s most prestigious setting, the Royal Albert Hall, she sets up her very own cabaret mixing blues, jazz and vintage soul. A woman who honours Nina Simone, Howlin’ Wolf, Dinah Washington, Buddy Guy and so many other key personalities of rhythm’n’blues, she shows us the full extent of her talent during this two-hour show. With a microphone to hand or sat behind her piano, what impresses us most is Beth Hart’s ability to mix all her musical influences and produce one very personal cocktail. Her secret? Her voice, of course. A kind of unstoppable magnet that pulls every word, every sentence, every chorus and which is made even more powerful by her contact with the audience. © Clotilde Maréchal/Qobuz
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Blues - Released March 30, 2018 | Anti - Epitaph

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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 25, 2019 | Provogue

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Bluesman Walter Trout returns with a record a little different than his usual output. Survivor Blues is comprised exclusively of covers, and he has chosen to record mainly obscure, old blues songs rather than more well-known picks. The album follows 2017's We're All in This Together and features his take on Jimmy Dawkins' "Me, My Guitar and the Blues." ~ Bekki Bemrose
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Blues - Released June 15, 2018 | Silvertone

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Buddy Guy begins his 2018 album, The Blues Is Alive and Well, by singing "a few good years is all I need right now," an acknowledgment that at 81 years old he's closer to the end of his life than he is to the beginning. This isn't the first time he's made such an admission. Eight years earlier, he opened up Living Proof with a boast that he was "74 Years Young," so his advancing years have been on his mind for a while, but The Blues Is Alive and Well is full of songs charged with mortality. The record is bookended by "A Few Good Years" and the mellow boogie "End of the Line," and Guy muses about "Somebody Up There" and wonders what will happen "When My Day Comes," all the while acknowledging he's "Old Fashioned." That's a lot of songs about life and death, but The Blues Is Alive and Well has a lot of songs in general -- a full 15, lasting well over an hour. This excessive length means there's a lot of room for levity, too, including James Bay sitting in for a duet on "Blue No More," Mick Jagger's wailing harp on "You Did the Crime," and, best of all, a showdown with Keith Richards and Jeff Beck on "Cognac." Guy has some good moments on his own, of course -- his guitar stings throughout and he can sell the house rocker "Guilty as Charged" with a vigor that belies his age -- but the emphasis on ruminative tunes feels a bit heavy-handed. Maybe that's why the album ends with "Milking Muther for Ya," a minute-long dirty joke that punctuates the moody vibes of "End of the Line." Its very presence suggests that Buddy Guy would rather live it up while he still has a few good years left. ~ Stephen Thomas Erlewine
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Blues - Released July 31, 2015 | Silvertone

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Once again working with producer/songwriter Tom Hambridge -- the bluesman's main collaborator since 2008's Skin Deep -- Buddy Guy serves up a straight-ahead platter with Born to Play Guitar, his 28th studio album. Many of Guy's latter-day records loosely follow a theme, but Born to Play Guitar is pretty direct: just a collection of songs designed to showcase Buddy's oversized Stratocaster. Which isn't to say there's either a lack of variety or pro forma songwriting here. Hambridge cleverly colors Born to Play Guitar with a few bold, unexpected flourishes: the sweeps of sweet strings that accentuate "(Baby) You've Got What It Takes," a duet with Joss Stone that lightly recalls Etta James' Chess Records work; the big, blaring horns of "Thick Like Mississippi Mud" that moves that track out of the Delta and into an urban setting; the acoustic "Come Back Muddy" which performs that trick in reverse, pushing Chicago blues back down south. Elsewhere, Van Morrison contributes a moving tribute to B.B. King in "Flesh and Bone," a heartfelt ballad that doesn't quite fit with the rest of the record because it's about song, not feel -- a nice anomaly on a record whose greater concern is juke joint boogie. Guy delivers on this front quite ably, particularly when he's paired with fellow blues lifer Kim Wilson (as he is on "Too Late" and "Kiss Me Quick") or when Billy Gibbons slithers out of the Texas hills to lay down the heavy stomp of "Wear You Out," and while there are no surprises on these duets, nor on the proudly traditional Chicago blues of "Born to Play Guitar," "Back Up Mama," and "Whiskey, Beer & Wine," there is still pleasure in hearing a master tear into his beloved music. ~ Stephen Thomas Erlewine
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Blues - Released October 24, 2014 | Epic

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Blues - Released December 2, 2016 | Polydor Records

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Blue & Lonesome is the first studio album in over a decade from The Rolling Stones. Recorded in just three days in London, England, Blue & Lonesome takes the band back to their roots and the passion for blues music which has always been at the heart and soul of the Rolling Stones. Blue & Lonesome is available in various formats and will be released on December 2nd by Polydor Records. The album was recorded over the course of just three short days in December 2015 at British Grove Studios in West London, just a stone’s throw from Richmond and Eel Pie Island where the Stones started out as a young blues band playing pubs and clubs. Their approach to the album was that it should be spontaneous and played live in the studio without overdubs. The band – Mick Jagger (vocals & harp), Keith Richards (guitar), Charlie Watts (drums), and Ronnie Wood (guitar) were joined by their long time touring sidemen Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (keyboards) and, for two of the twelve tracks, by old friend Eric Clapton, who happened to be in the next studio making his own album. Blue & Lonesome sees the Rolling Stones tipping their hats to their early days as a blues band when they played the music of Jimmy Reed, Willie Dixon, Eddie Taylor, Little Walter and Howlin’ Wolf – artists whose songs are featured on this album. The tracks are – ‘Just Your Fool’, ‘Commit A Crime’, ‘Blue And Lonesome’, ‘All Of Your Love’, ‘I Gotta Go’, ‘Everybody Knows About My Good Thing’, ‘Ride ‘Em On Down’, ‘Hate To See You Go’, ‘Hoo Doo Blues’, ‘Little Rain’, ‘Just Like I Treat You’, ‘I Can’t Quit You Baby’. “This album is manifest testament to the purity of their love for making music, and the blues is, for the Stones, the fountainhead of everything they do.” - Don Was, Co-Producer of Blue & Lonesome. - @rollingstones.com
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Blues - Released January 17, 2017 | Epic - 550 Music - Okeh

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Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues -- consistently revered but commercially dicey -- pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy and got even higher in the charts. The Door is more of the same. Keb' Mo''s slightly gritty voice and fingerpicking are the focus of the music, but he does not hesitate to add mainstream pop elements, beginning with writing partners who include Bobby McFerrin and Melissa Manchester, and continuing with a backup band that features such session aces as keyboard player Greg Phillinganes and drummer Jim Keltner. This is music that is folkish and bluesy rather than being actual folk-blues. Just in case anyone hasn't gotten the point yet, Keb' Mo' begins the album's sole cover, Elmore James' "It Hurts Me Too," in authentic folk-blues style, after which the arrangement lurches into a heavily percussive, anything but traditional direction. It's fair warning that the singer/guitarist is interested in tradition only as a jumping-off point. Maybe that's what "contemporary blues" is. ~ William Ruhlmann
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Blues - Released September 22, 2017 | Exile

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One cannot say that Van Morrison’s recordings of the last twenty years have left as much of an impression as his early 70s masterpieces such as Astral Weeks, Moondance or Veedon Fleece. But in 2012 Born To Sing: No Plan B was a nice come back, proving the Irish bard still had a lot left in the tank. Four years later Keep Me Singing confirmed this intuition with new songs on which Van The Man not only adapted to the constraint of age – he doesn’t sing like in 1969 anymore – but in fact masterfully tamed these limitations, giving each track a lived-in and warm atmosphere. Less passion and exuberance, more finesse and heart, all in his usual wonderful combination of soul, jazz and blues, his true trademark. This spirit remains on Roll With The Punches even if the repertoire is mostly made up of blues and soul covers (Bo Diddley, T-Bone Walker, Count Basie, Sam Cooke, Sister Rosetta Tharpe, Lightnin' Hopkins, Mose Allison, Little Walter, Bo Diddley), along with five original songs. A 37th album produced by Van Morrison himself and on which he collaborated with Jeff Beck, Paul Jones, Jason Rebello, Chris Farlowe and Georgie Fame. © CM/Qobuz
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Blues - Released April 20, 2018 | Anti - Epitaph

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