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.

1994 albums sorted by Bestsellers and filtered by R&B/Soul
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Soul - Released October 27, 2006 | Universal-Island Records Ltd.

Hi-Res Distinctions The Qobuz Ideal Discography
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R&B/Soul - Released September 21, 2018 | Warner Bros.

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Reissue
Two years after his premature death, Prince’s Ali Baba cave has offered up its first treasure. With the aptly named album Piano & A Microphone 1983, it’s with the simplest devices that his art is heard. At only 25 years old, Prince had already released five albums (For You, Prince, Dirty Mind, Controversy and 1999) and was just about to release the album that would turn him into a global star, Purple Rain. The multi-instrumentalist spent his days and nights in the studio and we find him here alone at the piano for a medley of personal compositions and two covers: Joni Mitchell’s A Case Of You and the gospel song Mary Don’t You Weep. The intimate context of this recording only amplifies the intensity of this unpublished work. Just close your eyes and you’ll find yourself alone with Prince… With his elastic voice and skilled playing, the musician from Minneapolis proves to those who doubted him that he was a true artist; both entertainer and composer, showman and improviser. His stripped back version of Purple Rain touches on the sublime and the track Strange Relationship gives an insight into the evolution of his productions, as four years later the track appeared, more muscular this time, on the album Sign o’ the Times. While Piano & A Microphone 1983 may be primarily aimed at Prince fans, novices – if there are any left – will no doubt enjoy discovering this impressive artist. © Marc Zisman/Qobuz
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R&B/Soul - Released November 30, 1982 | Epic

Hi-Res Distinctions The Qobuz Ideal Discography - Exceptional sound - Hi-Res Audio
Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable -- an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific "Baby Be Mine" and the pretty good ballad "The Lady in My Life" are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul -- expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn't as tight as Off the Wall -- and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum -- but those one or two cuts don't detract from a phenomenal set of music. It's calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as "Human Nature" coexists comfortably with the tough, scared "Beat It," the sweet schmaltz of the Paul McCartney duet "The Girl Is Mine," and the frizzy funk of "P.Y.T. (Pretty Young Thing)." And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record's two best songs: "Billie Jean," where a woman claims Michael is the father of her child, and the delirious "Wanna Be Startin' Something," the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music. ~ Stephen Thomas Erlewine
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Soul - Released April 27, 2018 | Bad Boy Records

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"Yoga" was an ostensibly minor part of the Janelle Monáe discography by the arrival of Dirty Computer. Three years old and outshined by another Wondaland release, Jidenna's "Classic Man," it nevertheless became Monáe's first single to hit the Billboard Hot 100. That Monáe hadn't previously hit the chart as a headliner was further evidence of a flawed industry, given that she and primary collaborators Nate Wonder and Chuck Lightning had been making songs with pop appeal for nearly a decade. "Yoga" did show that Monáe was more open to messing with contemporary trends. Moreover, the song's humanized, sexually uninhibited, and anti-authoritarian qualities -- she was earthbound, celebrating her body, asserting "You cannot police me" -- also indicated the course she has taken with her third album. Oddly enough, "Make Me Feel," the one Dirty Computer track on which Monáe employs a wholly pop songwriting team including Julia Michaels, Justin Tranter, and Mattman & Robin, is the funkiest and friskiest number here, clearly influenced by the late (and uncredited) Prince. Monáe and her trusty Wondaland partners, the album's dominant creative force, colorfully twist and flip new wave-leaning pop with booming bass drums and rattling percussion. They transmit powerful and defiant jubilance in response to "wack ass fuckboys everywhere (from the traphouse to the White House) who make the lives of little brown girls so damn hard," among dozens of other inspirations Monáe acknowledges in the essential liner notes. Almost every track is densely packed with quotables delivered in approaches that shift from easygoing elegance to hard-fought, triumphant conviction. The latter approach yields the album's apex, "Django Jane," in which Monáe raps throughout with inhuman precision, threatening a pussy riot, declaring "We ain't hidden no more," and uplifting the "highly melanated" while dropping some of the set's few sci-fi allusions, "Made a fandroid outta yo' girlfriend" among them. Not to be lost in all the power moves are indirect and direct references to a romantic relationship -- another form of dissent -- referenced and explored throughout, from the glowing "Crazy, Classic, Life" through the fiery "So Afraid," the only moment of emotional fragility. While this is easily the most loaded Monáe album in terms of guests, with Brian Wilson, Stevie Wonder, and Grimes among the contributors, there's no doubt that it's a Wondaland product. It demonstrates that artful resistance and pop music are not mutually exclusive. ~ Andy Kellman
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Soul - Released May 4, 2018 | Columbia

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It’s 2018, Leon Bridges is back! Finally… after a debut album released in 2015, the stunning Coming Home, that was a sort of spirit child of Sam Cooke and Otis Redding, a soul brother mastering every corner of that sixties groove, the young Texan signs off on an even more eclectic disc: Good Thing. On the first track, Bet Ain't Worth The Hand, he is languid like Curtis Mayfield. Later, he barges in on an 80s funky dance floor with You Don't Know and If It Feels Good (Then It Must Be). Later again, he opts for a velvety nu soul on Shy… These are the general feelings that emerge after a listen to this sophomore album: he never rests on his laurels and sticks with one particular groove. Thus, a general vintage sentiment exits and incomes a plural groove. At this rate, Leon Bridges might do a bit of auto tuning on his third record... © Max Dembo/Qobuz
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Soul - Released March 30, 2018 | Verve Records

Hi-Res Distinctions 4F de Télérama
A great, revived soul voice. Politically-conscious songs from the Great American Songbook. This project harks back to the 1960s (and beyond), but it finds a strong echo in today's America, divided and rocked by President Trump... By dedicating the whole record to covers of songs by Bob Dylan, Bettye LaVette makes her voice heard, literally and figuratively. Produced by Steve Jordan, Things Have Changed which features, amongst others, Keith Richards and Trombone Shorty, alternates between warm, vintage soul, and funkier bursts of real rock'n'roll. Above all, the 72-year old soul artist from Michigan continues to prove that she has a lot of singing in her yet. LaVette made her definitive comeback as long ago as 2005, with the album I’ve Got My Own Hell To Raise, itself also made up of covers, this time of songs from artists like Sinéad O'Connor, Lucinda Williams, Joan Armatrading, Rosanne Cash, Dolly Parton, Aimee Mann and Fiona Apple. Two years later she confirmed her vocal powers with The Scene Of The Crime which revisited Eddie Hinton, George Jones, Willie Nelson, Ray Charles, John Hiatt and Elton John. Coming, like all good things in spurts of threes, Interpretations: The British Rock Songbook, from 2010, saw her taking on compositions by the Beatles, the Rolling Stones, Traffic, the Animals, Led Zep, George Harrison, Pink Floyd, Ringo Starr, Paul McCartney, the Moody Blues, Derek & The Dominos and the Who… This latest 2018 offering, though, stands head and shoulders above the others, thanks to the hair-raising sincerity that the singer brings to Dylan's repertoire. Great art. © Max Dembo/Qobuz
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Soul - Released January 1, 2014 | Motown

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
Songs in the Key of Life was Stevie Wonder's longest, most ambitious collection of songs, a two-LP (plus accompanying EP) set that -- just as the title promised -- touched on nearly every issue under the sun, and did it all with ambitious (even for him), wide-ranging arrangements and some of the best performances of Wonder's career. The opening "Love's in Need of Love Today" and "Have a Talk with God" are curiously subdued, but Stevie soon kicks into gear with "Village Ghetto Land," a fierce exposé of ghetto neglect set to a satirical Baroque synthesizer. Hot on its heels comes the torrid fusion jam "Contusion," a big, brassy hit tribute to the recently departed Duke Ellington in "Sir Duke," and (another hit, this one a Grammy winner as well) the bumping poem to his childhood, "I Wish." Though they didn't necessarily appear in order, Songs in the Key of Life contains nearly a full album on love and relationships, along with another full album on issues social and spiritual. Fans of the love album Talking Book can marvel that he sets the bar even higher here, with brilliant material like the tenderly cathartic and gloriously redemptive "Joy Inside My Tears," the two-part, smooth-and-rough "Ordinary Pain," the bitterly ironic "All Day Sucker," or another classic heartbreaker, "Summer Soft." Those inclined toward Stevie Wonder the social-issues artist had quite a few songs to focus on as well: "Black Man" was a Bicentennial school lesson on remembering the vastly different people who helped build America; "Pastime Paradise" examined the plight of those who live in the past and have little hope for the future; "Village Ghetto Land" brought listeners to a nightmare of urban wasteland; and "Saturn" found Stevie questioning his kinship with the rest of humanity and amusingly imagining paradise as a residency on a distant planet. If all this sounds overwhelming, it is; Stevie Wonder had talent to spare during the mid-'70s, and instead of letting the reserve trickle out during the rest of the decade, he let it all go with one massive burst. (His only subsequent record of the '70s was the similarly gargantuan but largely instrumental soundtrack Journey Through the Secret Life of Plants.) ~ John Bush
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R&B - Released November 25, 2016 | Universal Republic Records

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Soul - Released January 1, 2014 | UNI - MOTOWN

Hi-Res Distinctions The Qobuz Ideal Discography - Hi-Res Audio
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Soul - Released January 25, 2019 | Decca (UMO)

Hi-Res Distinctions Qobuzissime
XamVolo’s shape-shifting debut album is stunning. At only 23 years old, the Londoner-turned-Liverpudlian infuses a delicate soul hemmed with jazz and pop in All The Sweetness On The Surface, a mix that was already well distilled in his two previous EPs, Chirality (2016) and A Damn Fine Spectacle (2018). It’s an ingenious record that stretches itself over fifteen diverse tracks. Everything changes, except his warm voice that remains well-attached to his lyrics, which he unfurls nonchalantly. Lose yourself in the voluptuous R&B which is shaped by guitar riffs, distant synths, softened choirs and the heavy tempo on the suave track Lose Love. Enjoy the well-cut jazzy brass of Feels Good, which samples from Thelonious Monk's Thelonious. Succumb to the elegant soul of Old Soul. Behind those round tinted glasses, Samuel Akinlolu Folorunsho has created the perfect neo-Soul setting. © Charlotte Saintoin/Qobuz
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R&B/Soul - Released July 18, 2005 | Epic - Legacy

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Soul - Released February 8, 2019 | Anti - Epitaph

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"It's kind of unbelievable to me that I’m still recording. I never thought I would still be singing at my age, and people seem to really want to hear me, they know me, they give me love - I'm just overwhelmed, really. I thank God every night before I go to bed and then again every morning for waking up." Few people would have imagined that at 79 years old Mavis Staples would still be reaching a wide audience and recording albums. Her inner strength is fully intact and this live performance at the Union Chapel in London just goes to prove it. Trump's America acts as a good source of inspiration and a powerful fuel for this voice that sings about God, love, and all the injustices and evils that surround us. She’s just as politically engaged as she was during The Staple Singers’ heyday (who were led by Pops Staples, her illustrious father) when the band released several protest songs for the Civil Rights Movement. Here, the gospel queen essentially sings songs from albums that she has released on the label ANTI since 2007. From Love and Trust by Ben Harper to Funkadelic's Can You Get to That and What You Gonna Do (which she sang during the sixties with The Staple Singers), from Let's Do It Again by Curtis Mayfield to Slippery People by Talking Heads, Mavis Staples’ voice turns everything it touches into gold. © Marc Zisman/Qobuz
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R&B/Soul - Released November 13, 2007 | Epic

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Soul - Released October 27, 2017 | Anti - Epitaph

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On Soul Power (a Qobuzissime record!), Curtis Harding confirmed that modern soul and groovy R&B suit him well. With his first album in January 2015, this flamboyant outsider came to join a family that already included Aloe Blacc, Mayer Hawthorne, Jamie Lidell, Myron & E, Nicole Willis, Lady and Nick Waterhouse, among others... A native of Atlanta, a former backing singer for Cee Lo Green and close to Cole Alexander from the Black Lips, Curtis Harding is striking, both for the eclecticism that he has to offer, and for the ease with which he moves from a love ballad to a funky up-tempo work that verges on Southern soul rock. With his Curtis Mayfield, Aloe Blacc and Shuggie Otis-like melodies, this second album is no less groovy, but a little smoother and with a little more by the way of guitar. Produced by Danger Mouse, Face Your Fear alternates between soul gorged on gospel, and more psychedelic ambiances. But despite this vintage atmosphere that brings a hefty whiff of the seventies, Harding has brought a touch of modernity to make this record an intoxicating cocktail of past and present. © MZ/Qobuz
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Soul - Released July 20, 2018 | Columbia

Hi-Res Distinctions Pitchfork: Best New Music
Thanks to Ego Death, their third album from 2015, The Internet has reached a wider audience… And yet, Purple Naked Ladies released in 2011 and Feel Good, released two years later, had already highlighted the soulful voice of their female singer Syd Tha Kyd and the rather sophisticated and mostly minimalist sounds from Matt Martians, both members of the Odd Future collective. The Internet was tackling different sections of the soul music, with a preference for 90s nu soul, sometimes veering toward R&B or even hip-hop. Three years later, the orgy of sensual beats that are most of all as languorous as ever is still on the menu of their fourth opus, Hive Mind. In its DNA, The Internet is viscerally chill and this chill & laid back philosophy even becomes here an ever more mastered trademark. A sound and an attitude that mean that none of the thirteen songs from the album will be obvious to your ears on the first listen. With its dreamy melodies, Hive Mind, like all the deep works, is only understood with time. It’s a luxury in 2018 to take your time… © Marc Zisman/Qobuz

R&B/Soul - Released March 16, 2018 | Naive

Booklet Distinctions 4F de Télérama
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Throughout his albums, you quickly understand that Meshell Ndegeocello was more than a Prince-ss. It’s easier to just see in this amazing singer, bass player and songwriter the female counterpart of the small genius from Minneapolis… For a quarter of a century, she has created the perfect alchemy between jazz, soul, rock, pop, funk, new wave and hip-hop, a true custard pie that is usually indigestible when tried by her competitors. With her, free as a bird never rang so true. It’s only logical, as this is the meaning of Ndegeocello in Swahili… Her 2018 batch sounds like a return to the groove roots; Meshell entertains herself by revisiting songs from the masters of the genre (Prince, TLC, George Clinton, Tina Turner, Janet Jackson, Sade) and also from some forgotten names (Force MDs, Lisa Lisa & Cult Jam, Surface, Al B. Sure!). Recorded in Los Angeles with her faithful Chris Bruce (guitar), Abraham Rounds (drums) and Jebin Bruni (keyboards), the aptly-named Ventriloquism is much more than a simple “cover album”. Stripped-down of their sometimes dated original sound, her songs are completely restored with care and taste by a Meshell that is as inspired as ever (TLC’s Waterfalls sounds like some Neil Young!) and yet beset by a rather dark personal touch. “The year around the recording of this album was so disorienting and dispiriting for me personally and for so many people I know and spoke to all the time. I looked for a way to make something that was light while things around me were so dark, a musical place to go that reminded me of another, brighter time.” This sensation of plenitude can be redeeming, and also kind of beautiful. All of that exudes from Ventriloquism, the strong work of an upstanding as ever and really unique artist. © Marc Zisman/Qobuz
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Soul - Released November 10, 2017 | Rhino Atlantic

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This type of album brings on the eternal debate: why fix a masterpiece if it ain’t broke? This is definitely the kind of metaphysical interrogation that you could ask when listening to A Brand New Me: Aretha Franklin With The Royal Philharmonic Orchestra. The idea is simple: take the vocals from the mythical recordings by the great soul singer for the label Atlantic in the ‘60s and ‘70s and place them on new arrangements performed by the Royal Philharmonic Orchestra. Recorded in the Abbey Road studios in London, all the classics including Respect, Think, Don't Play That Song (You Lied) and I Say A Little Prayer resonate here in a symphonic version. We find Nick Patrick and Don Reedman hiding behind the creation, the same producers who conceived If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra. Some will find this scandalous. Others, rather futile. And others will enjoy this new staging of careful arrangements that at least has the merit of not damaging the heart of this nuclear powerhouse of groove: the voice of Aretha Franklin herself. © CM/Qobuz
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Soul - Released December 21, 1993 | Rhino Atlantic

Hi-Res Distinctions The Qobuz Ideal Discography
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R&B/Soul - Released September 14, 2012 | Epic - Legacy

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R&B/Soul - Released July 4, 1983 | Epic

Hi-Res Distinctions The Qobuz Ideal Discography
Michael Jackson had recorded solo prior to the release of Off the Wall in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus -- it was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk. Its roots hearken back to the Jacksons' huge mid-'70s hit "Dancing Machine," but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. Jackson and Jones expanded this approach on the blockbuster Thriller, often with equally stunning results, but they never bettered it. ~ Stephen Thomas Erlewine