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.