Ultimately, where Imagine wins over similar projects is the degree of access Yoko has given to source material. A Simon Hilton-edited, Ono-prefaced book is exceptional. And the core album? A masterpiece. [Dec 2018, p.94]

Safe to say, the album's 14 tracks are confirmed to be nothing less than brilliant (it wasn't consistently voted the best album of all time back in the 90s for nothing), with Martin's beautifully burnished, respectful restorations of For No One, Here There And Everywhere and the enduringly magnificent Tomorrow Never Knows packing particular emotional punch.

It's an essential addition to any Young fan's library. [Jan 2019, p.94]

Live At The Hollywood Bowl is back, with new mixes by Giles Martin that sharpen the sound but don’t ditch the screams, plus extra tracks, including a wonderful I Want To Hold Your Hand. The great lost Beatles album just became the essential new Beatles album.

This is a brilliant time-stamp of a band on the cusp of greatness. In this all-encompassing collection, Metallica have actually managed to improve on perfection.

Fans will alp up the spot-on menu, while newcomers can discover one of the most criminally overlooked musical titans of the last century. [Nov 2013, p.98]

A monumentally hideous, yet strangely glorious album. Some might say it goes up to 11... [Dec 2023, p.72]

Still the greatest run of pop-perfection punk ever produced. [Mar 2020, p.95]

Visconti spent weeks polishing Live And Dangerous into a masterpiece. This box set suggests that all we ever needed was around 80 minutes, including encores. Seven additional, yet equally dazzling, versions prove that and give us Thin Lizzy in their prime: live, raw and dangerous. [Feb 2023, p.84]

A richly imagined widescreen masterpiece that grows deeper and more emotive with each listen, Ghosteen may well prove to be the most ambitious, achingly beautiful, boldly experimental album of cave's career. [Dec 2019, p.83]

Lost Domain will leave the listener raw. [Jan 2015, p.114]

It's getting late, but Springsteen's dusty art shows no sign of fading. [Summer 2019, p.84]

This album is the high point of his career, and it could be one of the finest albums you'll hear this year too. [May 2024, p.76]

Dense, rich and deeply rewarding.

The best showcase yet for a candid performer for whom the warts are the best bit. [Sep 2023, p.79]

It's a great way of refreshing an often overly familiar catalogue. [Jan 2015, p.124]

Rhythm & Blues is a proper double album: each disc is notionally themed though, as you'd rightly expect, there's plenty of each. [Oct 2013, p.88]

It's a pleasure to report his studio debut catches the spark. [Dec 2014, p.103]

He's in fantastic, youthful voice, snarling, seducing and showing off. [Mar 2020, p.93]

Although his french horn resounds like a signature motif throughout his work, Czukay's genius was as a discreet creator of space, in which ideas, energies, colours and found sounds could flow freely. [May 2018, p.98]

Not just euphoric but also important music, and another near-faultless Wolf Alice wonder. [Jul 2021, p.84]

Chunky but not over-egged at 14 tracks, Bury Me In My Boots is packed with honed tunes, new ideas and loveable old tricks.

At no points does the listener throw up their arms and shout, “My God! Let It Be is the greatest Beatles album ever made!” but this larger, panoramic overview does wonders for the record, giving us a bird’s-eye view of the sessions. Buy it and you’ll play it a lot. [Nov 2021, p.82]

This, by any yardstick, is great music. [Dec 2019, p.89]

Their 1997 self-titled release marked their effective rebirth, signalling the end of that period when they used outside writers and became themselves again. But no album since has had quite the consistency and urgency of this, their 17th studio record. Bang Zoom Crazy... Hello.

With Life Is But A Dream… Avenged Sevenfold haven’t just transcended their metal peers for good, they’ve also created their definitive artistic statement. And it’s bloody fantastic. [Jul 2023, p.80]

The most thrilling of everything here is a newly discovered BC radio recording from 1964 that fizzes with the thrill of making music and being alive. [Oct 2013, p.92]

Thematically, if previous Andrew WK albums have felt like having entire kegs shotgunned in your face, this one is like being syphon-fed after-dinner brandies.