This set feels like two complete albums-Some Girls One and Some Girls Two-and the sequel nearly manages to match the original's vital power.

As great as Box is, it’s yet another incomplete box set as Nah Und Fern was before it. There’s a GAS release album out there somewhere with a perfect 10 nailed to it, and it’ll have all six releases inside, waiting for us.

However delayed Live at Reading‘s official release is, thankfully fans can finally rejoice and celebrate its long-awaited arrival. Few live shows are able to communicate a band’s heart and soul the way Nirvana’s is brilliantly encapsulated here.

"Love and Theft" sees Dylan roaring back from Highway 61 at full bore, reminding us -- as he did on Blonde on Blonde, The Basement Tapes, and Blood on the Tracks -- that, like him or not, there isn't anybody else who can do his job.

Upon further reflection, an Achtung Baby shorn of any extras should be more than enough to satisfy you, after all-that's how it's been served for the past two decades. Everything else is mere garnish on top of a flat-out genius work.

Bottom line: whether you're a casual fan or a more obsessive one, this is the definitive issue of L.A. Woman.

This box-set from Holger Czukay falls definitively into that inspiring and still-futuristic category.

As the most comprehensive portrait of her significant body of work yet, it’s the perfect opportunity to listen closer to the whole picture, to see what overarching stories Parton’s music offers, to think about the rich bounty of stories and ideas that live in her songs.

The overall presentation of My Dusty Road, however, falls far short of the standard achieved by The Asch Recordings.

On the Impossible Past is an impeccably crafted melodic hardcore record by a group ready for it's close-up.

Biokinetics remains their unequivocal masterpiece.

The Legendary 1979 No Nukes Concerts does a great job of showing the power and the glory of Bruce Springsteen and the E Street Band. The excitement is palpable even on record 40-plus years later.

Her stylish performances are consistent with the excellence found on the rest of the album.

Blur 21: The Box documents [the band's evolution] with a staggering breadth of material-even the B-sides and unreleased material feel uniformly strong. It's a complete and necessary document for a band so important to their country's music and to music in general.

Around these four brilliant sets, we also get three bonus cuts from the Fillmore West in April of 1970. These sets [are] a bit murkier in quality--the four proper sets here are pristine--but they make for compelling contrasts.

Blondie’s Against the Odds is a story of many intersections: art and commerce, punk and pop, disco and rock, femininity and masculinity, and underground with the mainstream. Against the Odds tells that story beautifully.

Lemonade isn’t an easy album, but it wasn’t meant to be. Lemonade is blessed with nuance and fueled by anger, awash in politics but still meant to be consumed as a pop product. It’s as danceable as it is dark, as incendiary as it is inspiring.

Standing in sharp contrast with the 1950s performances, these recordings are furious, emotionally charged and borderline unhinged. It’s an exhilarating contrast that, when listened through start to finish, charts the creative journey of a true musical genius.

The disregard for conventional structure and instrumentation, combined with the adroit, sincere lyrics, makes Ants From Up There one of the richest and most emotionally-honest albums released by a young British band for quite some time.

For Bowie fans and completists who yearn for the highest possible quality versions of his classic albums, just like the first box, Who Can I Be Now? (1974/1976) certainly delivers. A little fine-tuning would have made a big difference, but as it is it’s still an impressive collection.

This is not only a treasure trove for Mitchell completists, but it’s also a definitive chronicle of the ascent of the greatest artist of the singer-songwriter genre. It’s a credit to her talent that none of the tracks – even outtakes and alternate versions of memorable songs – feel superfluous. The live tunes are especially poignant and captivating because we’re privy to an artist growing into her talents and gifts.

Pull Up Some Dust And Sit Down could have tremendous cathartic power for this who are aware of history and its knack for repeating itself. For those who are willing, this is a good place to start an education.

Deafheaven’s audacity and artistry are hard to deny, which is but one of many reasons why Sunbather is an essential listen, and one of 2013’s boldest works of art.

It may never occupy the place in the indie rock canon that "Slanted and Enchanted" has, and it may not be regarded as the band’s high point like "Crooked Rain, Crooked Rain," but 11 years later, this album still sounds great, maybe even better in its old age.

Compiled from various stages of his career, with varying fidelity but weirdly without varying quality, Orphans is the singularly odd cutting-room comp that serves as an equally decent introduction to a career.

If none of the new songs are essential, they'll still be a boon to completists, while those who only know Guthrie's most famous songs will get a much more rounded overview from Woody at 100.

At Carnegie Hall staunchly carries with it the brand characteristics that launched this cultural exchange.

It is an album that can be loved as both an achievement and an experience, a document and a revelation; it is simultaneously a problem to be solved and a spectacle to simply witness.