Even a listener deeply familiar with these records--no, especially that listener--will enjoy a high reward for the outlay. [No. 124, p.60]

The bona-fide masterpiece that Stevens' career has culminated in, and likely the one that will come to define his career. [No. 119, p.58]

It's a fascinating document, well worth a look from fans of any of the above [Offa Rex, Trembling Bells and Eliza's Carthy's Wayward Band]. [No. 145, p.61]

It's a furious, loud, unbridled, relentless album. [No. 117, p.60]

Serious fans will appreciate the sessions recorded with John Peel for BBC Radio 1 and the highlights culled from a 1982 performance at Boston's Opera House. [No.89, p.56]

At 30 years of age, it's only better than it was... It gets zero help from unnecessary remixes and wee heft from an era-appropriate Madison Square Garden concert recording. [No. 143, p.58]

It's towering tuneful stuff. [No. 126, p.54]

Hunt manages to turn in his most intense and provocative album yet, a stunning mix of prog, punk and soul that can challenge even the most jaded listener. [#81, p. 57]

Touchstones like "No Depression" and "John Hardy," Farrar shows flair and dynamic skill, while Tweedy works the band's rocking formula on "Train" and guilelessly narrates small town life with "Screen Door." [No. 106, p.51]

The album proper already excellently spoke for itself 20 years ago. [No. 103, p.51]

It's neither better nor worse than any other Clientele album, but it's an excellent primer. The real treat for fans, though, come sin the deluxe edition which includes a 10-track "lost album" from 1994, The Sound Of Young Basingstoke. [No. 125, p.53]]

A treasure trove of unheralded, largely unheard, completely unselfconscious pop music that bravely led post-punk out of the gloom and into its rose-colored romantic future. [No. 117, p.51]

As impressive as Savage Young Du is as a musical release--69 remastered songs over nearly three hours--it's equally impressive as a historical document. ... One of 2017's essential releases, no matter how you cut it. [No. 149, p.61]

Diehards may crab about these more experimental sounds, but it's hard to find fault with the James gang for not only climbing out of its rut, but also leaving it far behind. [#69, p.104]

It's still heavy as fuck, but it's also textural, emotional, diverse and defiant as fuck, too. [No. 148, p.52]

With Rounds, Hebden has found the secret meeting place for man and machine; he uses his cunning to exploit it and all of its startling possibilities. [#59, p.94]

The songs contained within make fellow travelers such as Dr. John or Tom Waits sound like eunuchs. Marvelous stuff. [No. 116, p.55]

Another fine showcase for her savvy and adventurous approach to both song selection and interpretation. [No. 147, p.59]

The long held notion of Stone and Co. as purveyors of funky pop (or poppy funk) touched by harmonic roar of choral vocals and the lyricism of sociopolitical consciousness is all here. [No. 122, p.61]

There was more to the melody of Unwound than just a few simple, catchy primitive riffs. [No. 107, p.61]

Beguiling and brilliant. [No. 89 p.51]

The playing is imaginative, the ideas vibrant and shimmering and the band's considerable melodic gifts sabotaged by either willfully obtuse compositional tricks or outright punk bratiness. [#55, p.84]

These are the quiet, beautiful songs that made Belle & Sebastian seem so monumental for a short time. [#68, p.88]

This is 46 tracks of certifiably bonkers brilliance. [No. 111, p.55]

On his own throughout this compilation, he sounds like a ghost haunting the dream house of his youth. Simply gorgeous. [No. 105, p.61]

A monumental record from a towering talent. [#59, p.103]

A better record than the Shins' first--a sonically bolder production with fewer effects and more hooks per square inch than a flyrod factory. [#61, p.109]

A brave, provocative and thoughtful addition to the Tuckers' canon. [No. 136, p.51]