The real selling point to both the Deluxe Edition and especially the Super Deluxe Editions are the live material. The second disc is rounded out with five selections from the Roundhouse in 1971, killers every one, but they're eclipsed by the first official release of Get Yer Leeds Lungs Out on the third disc of the Super Deluxe Editions.

One of the most assured, propulsive full-lengths the dance world had seen since Daft Punk's Homework.

Some of the remixes sound like little more than historical curios, but a surprising amount are either vigorous or imaginative and they all underscore how Achtung Baby truly was the first U2 album that could lend itself to these kind of mixes.

Much of the spooky sparseness of Girly-Sound was stripped away on Exile in Guyville, which in this context feels big, bold, and colorful--not the beginning of something, but rather the culmination of fearless bedroom exploration. When paired, it's impossible to deny that both Exile and Girly-Sound retain their artful power: What's amazing about this reissue is, it points out how distinct those two projects are.

These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year. Hardcore fans will definitely find the big set to be a worthwhile investment.

It's fitting that an album that truly deserves an expanded edition not only gets the deluxe edition it deserves, but one that makes a convincing argument that the sometimes ridiculous practice of expanded, multi-disc editions has a purpose after all.

Like most of the Zeppelin reissues, the alternate versions reaffirm that Page made the right decisions the first time around, but these seven versions all make for worthy listening in their own right.

The main difference between the two albums is that the first volume retains a sense of discovery, whereas the second is made with the confidence that this particular formula works. In either case, the two albums -- whether heard individually or as a pair, as they so often are -- aren't so much complements but of a piece, music that changed the course of popular music and remains a testament to the genius of Ray Charles.

Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period.

Kickin’ Child not only ranks with Dion’s best (standing between career highlights "Runaround Sue" and "Abraham Martin and John"), but it's absolutely one of the greatest folk-rock records ever.

Rooty is the second straight triumph from a pair of producer/DJs who look set to carry the torch for dancefloor electronica in the years to come.

Smart selections make this the best and handiest introduction to a group crucial to the development of industrial, post-punk, and dance music.

Although nothing here may eclipse the original Appetite for Destruction, everything added to this deluxe edition enhances the album, offering proof of Guns N' Roses's immense skill while also illustrating how the band captured lighting in a bottle on their debut.

77-81 is a brilliant testament to their visionary impact and lasting importance.

Because so much of this music is raw--it's alternately live, unfinished, and improvisatory--the box underscores how Pink Floyd were an underground band right up until Dark Side. Decades later, these recordings still feel boundless: this was music made without a destination in mind and the journey remains thrilling.

Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope.... A song or two feels slightly different--"Misty Mountain Hop" jumps a bit as it seems to groove a little bit stronger--but by and large this [supplemental] disc shows that as a producer, Page not only knew where he wanted to go but he knew how to get it right the first time.

Throughout the record, the band's playing is excellent, making the eclecticism of Page and Robert Plant's songwriting sound coherent and natural.... This Houses Of The Holy supplement ultimately confirms that Page and Zeppelin made the right choices the first time around.

Biokinetics is a stunning summation of the Basic Channel aesthetic.

Hard Luck Stories is evidence Richard & Linda Thompson's union was more than worthwhile. However things ended, they created something truly special, and this is as consistently excellent and rewarding as any box set of the past decade.

This is one of the most assaultive, addictive albums around, a rip-roaring journey through sonic violence that will leave most quivering in the corner and others (a special few) totally enraptured.

The set contains much of Ra's more accessible work, making it an excellent (and very generous) introduction for newcomers, but there's also plenty of material that might've escaped notice from longtime fans.

Satan Is Real is music crafted by true believers sharing their faith, and its power goes beyond Christian doctrine into something at once deeply personal and truly universal, and the result is the Louvin Brothers' masterpiece.

They have never shown such control on a record before -- previously, their best albums were exciting because they went all over the place, and did it well -- and it's quite intoxicating to hear them ride one groove, finding different variations within it, for an entire album.

Mostly, it means that Joy'All hums to a rhythm that's happy, if not quite beatific: Lewis bears her sorrows and scars proudly, which makes the sepia-toned positivity of the album feel earned.

Saturn Return hews closely to the evocative, Southern gothic swoon of its predecessor, 2017's splendid You Don't Own Me Anymore, but it does so with the dividend of confidence that the latter effort had to earn.

Quarter Turns Over a Living Line is the group's fine and uneasy full-length debut.

Singles shows that their craftsmanship and good taste may have been their most defining quality.

Born Free goes a long, long way toward keeping that heartland flame burning bright: it's familiar yet fresh, and song for song it's the best album Kid Rock has cut since Devil Without a Cause.