Clearly, this is not geared to the casual fan. But for those with an intense interest in either Lennon and/or arguably his finest work, it’s an understatement to say this ultimate edition lives up to its boastful name.

Little more needs to be emphasized about the lasting importance of these prototypes other than this third reissue tweaks the sound with Page’s new remastering revealing nuances in the playing and arrangements that further enhance their already substantial historical cachet.

Little more needs to be emphasized about the lasting importance of these prototypes other than this third reissue tweaks the sound with Page’s new remastering revealing nuances in the playing and arrangements that further enhance their already substantial historical cachet.

It’s a lot to delve into. As much a scholarly treatise as serious source material, the relit Flaming Pie is finally served up with the stature it deserves.

All were matched with arguably the most potent material they would ever sing. For its golden anniversary, veteran Bob Clearmountain’s new mix maintains the disc’s homespun quality while revealing previously hidden subtleties in the original recording.

Naturally, Dylan aficionados will likely view this once again as part of a holy grail, but even the casual collector may see the need to add this to their collection. Springtime In New York could be considered one of the richest seasons of all.

All Things Must Pass is a landmark set; one that sounded timeless 50 years ago and will have the same effect 50 years from now. Even, perhaps especially, those who have lived with it for decades will enjoy this appropriately classy, beautifully crafted, refreshed/remixed, and likely definitive version.

As much as the record is a tribute to rock and roll, it is as much a testament to Parton’s prestige. Who else could gather so many for a party in honor of the genre? Indeed, the album is a show for the ages, a show for one and all. Standing ovation.

Part of what made Nirvana’s final studio album so monumental was everything that made Nevermind a classic--an abrasive retooling of the pop songwriting handbook.

There’s just too much to handle. But taken in smaller pieces, and put into perspective with the iconic jazzman’s enormous output, this beautifully crafted, linen covered box is essential to appreciating the early, somewhat formative years of his larger-than-life musical personality, one that would go on to create bigger and arguably better things.

It remains thrilling to hear the whiskey throated Stewart charging through these songs, urged on by Kenney Jones’ often frantic drumming and McLagan’s ever present keyboards. It’s also clear that a solo career was inevitable, a fact that ultimately broke up the band. None of the Faces’ four albums were without flaws, but even at their weakest, they get by on energy and a loopy yet palpable enthusiasm any act would envy.

After half a century, it’s clear that he still retains an eternal energy and enthusiasm. It’s little wonder then that this 50 Year Trip proves such an exhilarating journey at every stop along the way.

Five stars aren’t enough, of course, to sum up this music. Maybe there are some tapes hidden out there for the bootleggers to scrounge up, but it seems likely that The Basement Tapes Complete has given us everything we truly need to hear from that extended magical moment in musical history.

It’s a lovingly assembled package and the last word on a once misunderstood but now acknowledged masterpiece.

The singer’s distinctive baritone, dry yet emotive talk/singing style and the crystal clear recording quality focuses attention on his dynamic, sometimes humorous, always poetic lyrics. The interplay with his three backup singers also brings depth and a sensuality often lacking from the studio versions, making some of these laconic and extended performances definitive.

The album was intricately produced by John Simon, and meticulously arranged with three singers/players--Levon Helm, Rick Danko and Richard Manuel--sharing the spotlight (Robbie Robertson also took a rare lead vocal). Subtleties like oblique background horn charts, keyboard whiz Garth Hudson’s inspired and playful sounds (particularly on “This Wheels On Fire”) and Helm’s unique drum patterns are given a fresh glow, making this enduring classic even more enticing.

That sense of hostile irony may be one of the most underrated qualities on Nevermind, whose sly dismissals and cagey lyrics sound like an extension of Cobain's scabrous guitars and Dave Grohl's thundering drums.

With more than 120 of said unreleased offerings, it could be considered a must for any Mitchell fan. The concert settings themselves are worthy of note, given that they shift from small club settings to more spacious venues, including Carnegie Hall, the Paris Theatre, and the realms of the mass media, including appearances on the BBC and The Dick Cavett Show.

Such is the bounty contained on The Ties That Bind that it might make you question Bruce Springsteen’s judgment even as you marvel at his ridiculous talent.

Taken in total, The Who Sell Out Super Deluxe Edition is in fact the ultimate box set bonanza. It’s one that any diehard devotee will not want to do without.

Their finest album, 1977’s Rumours, addresses with heart and sharp insight the romantic disengagements and re-entanglements of the members in the free-spirited, free-love 1970s.

It’s a 10-song collection woven together with surprise, gratitude, pain and musical beauty the world has never quite seen before.

A well-known perfectionist, it took her eight years to craft and release these tunes that fly by in just under 40 minutes. Every one is a gem.... This is the first title on Williams’ own label--a new album is due in mid-2014--and is essential listening for every Lucinda fan and anyone even tangentially touched by her timeless music.

Clearly this is a heartfelt, meticulously crafted package for a cult artist who deserves far more acclaim and respect from a wider audience. As a single disc, non-boxed set re-release, it’s everything this classic deserves and a beautifully realized example of how reissues should be done.

It’ll take some adjusting to deal with Charles’ slick, ultra-commercial versions of these old-school country/western and countrypolitan gems. But understanding how drastic a career move this was for the era, it makes more sense. Even with faults, these two volumes of Modern Sounds in Country and Western remain required listening for Americana fans and their reappearance is worth celebrating.

The concerts capture The Who at peak power, the often raw blueprints of the songs are a fascinating look behind the curtain of Townshend’s creativity and the exhaustive notes provide the final word on this musically enthralling if somewhat abstract and problematic milestone in rock history.

While not every song is covered, but enough of the creative process is revealed to make this a revelatory encounter.

These songs—either live or in the studio– maintain the power and magnetic, manic dynamism that turned heads nearly four decades ago and they have never sounded better.

Many [of the demos] prove that producer Gus Dudgeon knew how to tweak the material, which had a tendency to get long-winded. ... Eight live selections from London’s Royal Festival Hall, recorded around the album’s release, confirm how tough John’s four-piece was. ... These songs still sound terrific, reminding us just how vital and prolific an artist Elton John was in his prime.

At nearly 10 hours of music, the “super deluxe” bundle is too much for any but the most committed. But the edited editions include some of the best stuff, leaving the rest for the Prince faithful. And if anyone was unsure of just how talented, creative and prolific Prince was at his inspired peak, this fully loaded box solidifies his legacy as a true American icon.

Like any live recording, this can never replicate the electricity in the intimate venue with Otis and his band firing on all cylinders but, all things considered, it’s as close as we’re likely to ever get.

The 65-66 era of his career occupies rarefied space in the annals of rock; The Cutting Edge somehow demystifies it and makes it seem more impressive all at once. For a guy who once warned us not to look back, Bob Dylan keeps giving us irresistible reasons to do exactly that.

As with the previous three reissues, the pristine remastering removes a slight audio film that was still present after the 1992 versions. That’s especially obvious on the guitar parts of the more delicate songs but also shines a brighter light on John Bonham’s remarkable drumming that both grounded the band and pushed the other members into expanding their own boundaries.

Anyone who has somehow been immune to the late icon’s talents need only push play and let his showmanship, musicality and sheer star power wash over you to understand why he was such a legend. This captures it all and it has never looked or sounded better.

As with the previous three reissues, the pristine remastering removes a slight audio film that was still present after the 1992 versions. That’s especially obvious on the guitar parts of the more delicate songs but also shines a brighter light on John Bonham’s remarkable drumming that both grounded the band and pushed the other members into expanding their own boundaries.

Not many albums still stop you in your tracks after 25 years of listening. This one does. It’s a pure masterpiece, from beginning to end.

This mammoth box with 65 tracks (50 never heard before), features a stunning remix of the initial 11 songs from veteran producer Ed Stasium (who was on the shortlist to first helm the project). .... The “leftovers” are not just for hardcore fans either. Some alternate takes are as powerful, perhaps more so than what ended up on the finished release. .... Tim remains revelatory.

For Zappa obsessives, and you know who you are, it’s impossible to imagine a more thorough and exhaustive (maybe exhausting is a better word) examination of the artist and how his music was created—before the advent of digital technology– than this. Sit back, dig in and enjoy.

Dylan goes through an eight-song set of staggering quality (“Desolation Row,” “Just Like A Woman,” Visions Of Johanna,” and so on) with his interpretive skills at their peak and his hold over his audiences nothing short of mesmeric. Maybe only Dylan completists will shell out for a series of discs with repetitive set lists. Those completists will be getting a bargain.

While it doesn’t include some of his best post-jail efforts, the set documents the beginning of one of the greatest second acts in rock history.

Pixies’ full acceptance of the shifts in their schema only further solidify their inimitable identity. The exultant result: Head Carrier, a new classic.

It's a beautifully understated album of personal confessions, wandering thoughts and worldly observations, all rendered with the assurance of a naturally gifted vocalist, one who clearly has no need for auto-tune or other irritating tonal tampering devices.

To say the results probably exceeded anyone’s expectations is an understatement.

A fierce backing band, Okkervil River lends them drama, tension and a cinematic pomp that underscores the miraculous nature of Erickson's recovery.

Bruce Springsteen's Wrecking Ball is that rare release that manages to fulfill, defy, and exceed expectations all at once.

Few albums in recent memory are as thematically bold and cohesive as The Land is Inhospitable and So Are We. Mitski has a firm world built around her. Her identity as a musician has been long set in motion. Nevertheless, she flies past her own mark in this record, creating something more multifaceted than ever before.

A remarkable recording, it can easily be considered an album for the ages.

New liner notes from Barry Hansen provide essential background. But all you need is the music to understand that Arthur Alexander is one of the greatest “unknown” artists of the soul era, and one whose legacy is enhanced by this classy re-issue of one of his finest works.

As bright and warm a guitar-based indie pop album as that [debut album, Gorilla Manor] was, it left a fair amount of room for expansion and maturity. On second album Hummingbird, that growth is readily apparent from the first track.

Though this remastered 40th Anniversary Edition tightens and polishes every tone, L.A. Woman isn't exactly a studio marvel.

The band’s best, worst and WTF moments are on display — along with a lot in the middle — but there is little doubt that The Replacements deserve their place in American rock music history.

In the here and now, with Jump Rope Gazers, they are bounding past their contemporaries.

Some performers are more impressive on CD where their on-stage antics aren’t visible (we’re talking to you “Weird Al”) but the dedication to, and love for, Harrison’s music is infused in every track. That makes this a fitting testament to his music, a thoroughly enjoyable experience (in either its video or audio forms), and a splendid, at times superior, companion piece to its well-regarded predecessor.

It's geek rock's holy grail courtesy of the sub-genre's flagship band, and an album that, though rife with sincerity, songwriter Rivers Cuomo has seemed to run farther and farther away from ever since.

[A] remarkable exploration of and ode to American music.

Carry On stuns from start to finish and the quality only increases with each repeat listen.

Recording in his Glasgow hometown helps provide a vibrant, unhurried enthusiasm that’s contagious. Each track is enhanced with guests periodically contributing horns, woodwinds, strings, and even French horns and glockenspiels.

Wise Up Ghost is a fearless, invigorating gut-punch of a record, one that never settles and surprises from start to finish.

There’s not a weak track in the dozen making this another candidate for blues release of the year from brothers who almost never got to play another note together. Making up for lost time never sounded so good.

This flawlessly conceived follow-up draws from many of the same influences yet broadens her boundaries. It’s every bit as potent and expertly arranged, putting it in play as an early contender for one of 2020’s finest albums.

Tempest is fantastic, but being impressed by Dylan is old hat. That he still finds ways to surprise us is an achievement beyond all comprehension.

This is, in every way, a crowning affair, one that’s destined to be considered a high point in Carlile’s ever-expansive career. It’s little wonder then that In These Silent Days consistently speaks volumes.

If you’re new to Everett’s talents, Extreme Witchcraft is a fine place to start, before working back through a catalog that has no weak entries. But this stands out as a highlight by his lyrical dexterity and the visionary Parish/Everett production partnership.

The Union brings up two very good points again and again: No amount of celebrity shenanigans or animated transgressions can eclipse the fact that Elton John is an absolutely amazing musician and there's a never-ending list of reasons why Leon Russell is your favorite musician's favorite musician.

This is clearly an album to be absorbed, perhaps alone, as you read the words and let the music wash over you, taking you places few singer-songwriters dare to explore, let alone those on their first albums. Similar to the early work of the equally unconventional PJ Harvey.

At their best, live albums serve to encapsulate a career. In this case however, What To Look For In Summer offers something more, an actual elevation to the accomplishment. Look… and listen. Summer is an album for all seasons.

By turns both heartbreaking and heroic, it boasts the signature sound of an artist whose music has always been soothing, seductive and immediately engaging. In this case, quality is matched by quantity, given the fact that the album boasts some 18 tracks (plus an added demo), each as winsome and wistful as the next.

These stories resonate with strength and an irrepressible spirit few other artists can summon. Williams’ ability to persevere over issues that would sideline lesser talents and create music this impressive is a testament to the vitality of her rock ’n’ roll heart.

Ultimately, Orpheus Descending ranks as one of the most commanding and compelling albums of Mellencamp’s entire career.

Earle is far too musically adventurous to linger too long in any one genre, and kudos to him for that, but Terraplane is such a standout that we can only hope he makes his way back around to the blues relatively soon.

Thankfully, the abundance of material doesn’t lead to any lapse in quantity, although some songs are admittedly more essential than others. Taken in tandem, they serve as yet another reminder that for all the unpredictable paths Young’s pursued throughout his career, his reputation as an astute songwriter puts him in the upper tiers of rock’s most reliable artists of the past 50 plus years. Save up your coin, folks. This one’s essential.

Everything connects emotionally and musically in front of an enthusiastic crowd on one of the year's best and most vibrant live albums.

The result was a rich listening experience, as Swift flew past the mark she set for herself with ease, daring to look further inward than ever before.

Third time the charm? Based on the shimmering Mint Condition, it deserves to be.

Harry’s House pleasantly surprised us—knocked us off our feet actually—with its synth-layered earworms.

After the celebri-beef and ALL CAPS blog posts fade away, Fantasy will stand as an album that dare to push the entire medium of recorded music forward, for better or worse.

Despite a few glaring omissions (no “The Slider”?), most of Bolan’s recognizable work is represented. Willner’s flair was matching artists with unlikely song pairings and having them gel perfectly, such as Lucinda Williams running “Life’s a Gas” through her moody, Southern-swamp personality.

Even as he enters his 60s, Waits still sounds as lively and as cagey as ever, indulging both his most brazen and his most sentimental urges to upend all of our expectations.

Price’s ability to mesh elements from rock, soul, country, and beyond to craft her own modernized yet classic sound shines on tracks like “Where Did We Go Wrong.” Although the project is a departure from the traditional country sound of her early albums, every song feels authentic and distinctly her own.

This stunning entry into his already impressive catalog shows he refuses to rest on his laurels.

Both as a songwriter and as a performer, Laura Marling has never soared so majestically.

Plant continues down his remarkably innovative path on the combustible Carry Fire, further expanding an already eclectic, forward-thinking solo career and creating an artistic, often edgy persona largely removed from past glories many younger fans may not even be familiar with.

Even without the obvious gravitas hovering over the project, this is an exceptional work and arguably Allman’s finest non-Brothers release.

The result is naturally a bit of a mish-mash, but all of the material is terrific and the sequencing makes this seem like a finished product.

It’s not just a rousing bookend to a remarkable, late-starting career, but a terrific and moving soul explosion that stands as one of the finest in her limited yet extraordinary catalog.

The absurdity and terror that Nick Cave and the Bad Seeds have so often courted aren’t absent on Push The Sky Away. They’re just muted, and rendered all the more seductive via lush arrangements and Cave’s crooning baritone.

The album is somewhat of a musical and philosophical rollercoaster. But that’s all in a day’s work for Everett who adds to his already impressive, uncompromising catalog with another expressive, rugged and diverse gem.

Some 42 albums on, Morrison remains as emphatic as ever. This Latest might not be his greatest, but in many ways it clearly comes close.

Four the Record retain all the pain and personality that drove those dark songs [of her first two albums] and redirects her energies toward some of her best and most eloquent singing and songwriting yet.

It’s an album that shows again and again that very few songwriters on this planet illuminate the oft-unfair rules of this game or the inner workings of the players quite like he can.

Mermaid Avenue project is essential for showing that Woody Guthrie could illuminate what was going on inside of him as well as he could detail the plight of his fellow man.

A River Running to Your Heart qualifies as a complete triumph and one that serves Fruit Bats’ legacy well. To describe it as simply exceptional doesn’t say it all.

Even as Vernon and his cast of thousands get further and further from the relatively simple, backwoods folkie sound that originally brought him to the forefront, he is making music that, far from being strange, is actually as inviting as anything he has ever done.

For their part, the band is spotless. The majority of the record adheres to the lilting and forlorn brand of country that one might expect from an album called Invariable Heartache.

Though these songs cry out for DVD treatment, this audio-only collection is still an unparalleled document.

Since PJ Harvey is a veteran artist who, in her 20-year career, has yet to either make a bad record or repeat herself, to call her latest, Let England Shake, one of her strongest efforts to date is a bold statement, but it's true--this a brilliant record by an artist impervious to aging.

Overall, arriving nearly five years removed from his prior studio album, UTOPIA sees Scott stay true to his style, his preferences, and his principles, going against the grain of the tendencies in the viral-hungry world that is 2023 rap.

One of the most searing, potent and passionate albums you’ll hear this year.