Finally, the third and most brutal album from these Detroit legends gets both the rawness and the power it deserves.

III was a masterful union of ballads and bruising, and a giant step in the songwriting ascent toward, later, "No Quarter" and "Kashmir."

The remarkable achievement of Love and Theft is that Dylan makes the past sound as strange, haunted and alluring as the future...

Imagine: The Ultimate Collection is a lavish celebration of John’s masterwork.

[Tempest is] a thing to behold.

The most despairing, confrontational and musically turbulent album Bruce Springsteen has ever made.

Her tenth album returns to the dazzling synth-pop of albums like '1989' and 'Reputation,' with lyrics caught between a love story and a revenge plot.

The set includes the Memphis Recording Service acetates Presley had cut on his own dime ($3.98 a pair, to be exact); the entire legendary Sun Sessions, aborted takes and all; and every known concert and radio recording from the period. The sound quality is likely as good as it'll ever get, and the performances are musical bedrock.

This three-disc remastered Ya-Ya's includes the original in all its gritty glory. Disc Two is a five-song EP from the same shows, with acoustic performances--"Prodigal Son" and "You Gotta Move"--from Richards (playing a resonator guitar) and Jagger. The third disc is an unexpected treat: blistering sets by openers B.B. King plus Ike and Tina Turner (doing an outrageously steamy take on Otis Redding's "I've Been Loving You Too Long").

It takes a band as myth-saturated as the Clash to live up to a career-summing box as ambitious as this one. But Joe Strummer and his crew of London gutter-punk romantics fit the bill.

Rarely does an act so flatteringly curate its own brilliance.

Whether she's holding notes with the strength of a suspension bridge or enjoying a rare lighthearted "whoo-hoo!" on "Sweetest Devotion," her incredible phrasing – the way she can infuse any line with nuance and power – is more proof that she's among the greatest interpreters of romantic lyrics.

The only dicey part is an uneven disc of six remixes: some provide new insights, others fall flat. ... With three other discs and a book of the Edge's moving black & white portraits of the band in the California desert, the box is a thorough portrait of a band on the verge, ready to burst into the arms of America and the rest of the world.

It's a fabulously crisp mix of one of modern pop's greatest LPs. Details sparkle.

Giles Martin and Sam Okell have done a new mix in stereo, 5.1 surround sound and Dolby Atmos. The mix does wonders for moments like the three-way guitar duel in “The End,” with Paul, George and John trading off solos live on the studio floor. The Sgt. Pepper and White Album sets were packed with mind-blowing experiments and jams, but Abbey Road is considerably more focused. In these 23 outtakes and demos, you hear a band in the zone, knowing exactly what they want to do, working hard to finesse the details, even the ones only they’ll notice.

Wrote a Song for Everyone does not replace anything Fogerty did the first time around. It affirms the living history in his greatest hits--that of a great nation still being born.

It's a museum piece, a record that merits a display in the Smithsonian.

Late Registration is an undeniable triumph, packed front to back, so expansive it makes the debut sound like a rough draft.

All [of the unreleased songs] were recorded around the time of OK Computer; all are unimpeachably first-rate; and yet, all were sensibly left off the original. Nevertheless, they complete the picture of one of rock's greatest bands cresting their first creative peak.

Even for him, though, The Rising, with its bold thematic concentration and penetrating emotional focus, is a singular triumph.

Kid A Mnesia isn’t just a monument of Radiohead’s bravest, boldest music—it’s a tribute to keeping the creative fires burning even in the coldest of times.

My Beautiful Dark Twisted Fantasy is his most maniacally inspired music yet, coasting on heroic levels of dementia, pimping on top of Mount Olympus.

Alongside alternate LP mixes are early versions of "Andy's Chest," "The Ocean," and "Rock'n'Roll"; fascinating abandoned outtakes slated for a supposed "lost" fourth LP ("Coney Island Steeplechase," "Ferryboat Bill"); and some of the most exciting live VU recordings ever.

Some of Beyoncé’s best vocal work on record, produced flawlessly and at the forefront of each track. Her voice as an instrument is wielded superbly across the entire album but most strikingly at the top of it, as she glides across country and R&B inflections effortlessly.

The new Red is even bigger, glossier, deeper, casually crueler. It’s the ultimate version of her most gloriously ambitious mega-pop manifesto.

The sound quality is astonishing.

There are 50 tracks of the work in progress--outtakes and sketches; roads not taken and songs left behind--across the summer and fall of 1968. But the Esher tapes are a profound record in themselves. There are rough lyrics and missing parts; Lennon’s “Glass Onion” is just one, repeated verse. But this is an unprecedented view of the Beatles at the ground zero of songwriting as well as the trials and conflict that charged that bounty.

Greatest protest album ever made? Most stirring soul-music symphony? Yes and yes. And then some.