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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

A 50th anniversary package for vital music that no one would dispute deserves the deluxe treatment. [Music: 5 out of 5 stars Reissue packaging: 4 out of 5 stars]

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.

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.

The thrilling Black Sabbath Vol 4 is essential listening for Brit rock enthusiasts since it captures the band gently prodding its established metal genre. Whether anyone but the most fervent fan needs to spring for this pricey and skimpy reissue though is debatable. [Music: 4 1/2 out of 5 stars/ Reissue package: 2 1/2 out of 5 stars]

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.

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.

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.

Surveys of his life and work still manage to produce fresh revelations, and American Radical Patriot, Rounder Records’ just-released collection of government-related Guthrie recordings, provides extraordinary new insight into the complex mind of this simple-sounding folk icon.

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 sumptuous array to be sure, and one that further expands upon Petty’s lingering legacy.

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.

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.

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