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.

Calling Renewal a remarkable work doesn’t even begin to describe its full extent of prowess and sheer ability. In a word, Strings simply soars.

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.

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

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

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.

Start Walkin’ excavates the finest moments of some inconsistent albums to prove her iconic status is well earned.

For them [super fans], the voluminous and informative liner notes alone, which track Blondie’s history from those who lived it, seldom seen photos, and track specific comments will be worth lightening their bank accounts for. Others less dedicated may want to tread more carefully.

The entire set is as classy, often self-indulgent and challenging as the man himself.

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.

The famed slide guitarist and world music enthusiast releases his most incisive and sardonic political album.

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.

Since the selections were cherry picked from various shows, the playing and performances are likely the finest from the tour. The audio is tough and punchy with clean separation that leaps out of the speakers. Only Ozzy Osbourne’s insistence on introducing every song slows the momentum. A short, seven minute CD single of just two songs pushes the platter total to four.

Beneath this veneer of mirth and melodrama, there’s an artist who gives full reign to intrigue and intellect in equal measure.

This is a mammoth and comprehensive overview of one of the major musicians of our time and as such, is essential listening for all enthusiasts of funk, soul and rock.

Taken as a whole, the Let It Be box is an essential addition to any collector’s library, a collection that documents a critical time in the final stages of the Beatles’ existence. Few albums were accompanied by such sad circumstances, but now, visited anew, the joy and jubilation are evident after all.

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.

Carrie & Lowell demonstrates, brilliantly and harrowingly, over and over again, how life’s most valuable lessons can only be gleaned by enduring its worst circumstances.

The Asylum Years is not only a set suited for the aficionado but also one ideal for the novice. With five CDs and an expansive booklet, it’s not necessarily an inexpensive proposition. However, it could be considered the essence of essential.

Reteaming with co-producers Ethan Gruska and Tony Berg, Bridgers pulls the listener into a weary world only she could master. It’s exhaustive but redemptive, and she casts her songwriting into fire and brimstone, only to later yank it free in the knick of time.

Save some production switch-ups, 1989 (Taylor’s Version) doesn’t provide too many revelations, but that is the point. Moreover, we will have the Vault Songs on repeat until we are gifted even more new music from Swift.

No need digging out those Setzer albums this Christmas for your hep-cat and kitty party needs. There’s a new rockabilly rebel mixing it up, and if McPherson’s first wildly successful foray into swinging holiday cheer is any indication, this might be the start of something big.

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.

Three discs worth of rehearsals are hit and miss; many songs are fragmentary and others don’t match the eventual live versions. Plus, the live shows don’t vary all that much in their set lists. Casual fans will probably stick with the ten or so Dylan songs they play on satellite radio. But true fans will greedily gobble this up and be more than pleased.

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.

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.

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.

Other than basic songwriting credits, there are no liner notes, no band history, no lyrics, no indication of which album each selection originated on, a few unimpressive pictures in the skimpy four page pamphlet and an overall lackadaisical artistic presentation. ... Musically this is an impeccable set of classic, edgy rock that captures the essence of an eclectic couple that stayed honest and true to their uncompromised sonic vision. [Music: 5 Stars/Packaging: 2 stars]