This welcome five-CD-plus-DVD expansion adds several non-LP singles; a new, nine-cut tribute set featuring contemporary fans from Miguel to Fall Out Boy (John Grant's sighing "Sweet Painted Lady" is the highlight); a vintage documentary about the album's creation; and, best of all, an explosive London concert that demonstrates how hard John and his kickass band could rock between eloquent ballads.

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

U2's first studio album in five years--is a triumph of dynamic, focused renaissance.

The trunk of treasure he and the Band made in their short season of hiding keeps on giving.

The latest reissue of the album spotlights its sonic depth, thanks to illuminative remastering by guitarist-producer Jimmy Page, and, on the deluxe edition, alternate mixes of each track.

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.

Physical Graffiti, in its cocksure energies and determined reach, was Zeppelin's last, swaggering masterpiece.

The alternate takes in this reissue show how hard the Stones worked to sound so natural.

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.

Lemonade is her most emotionally extreme music, but also her most sonically adventurous.

As it turns out, Giles Martin reveals considerable new wonders--particularly in his stereo remix of the original album. The remix, in fact, provides a long overdue epiphany. ... Popular music's most elaborate and intricate creation--and one that helped end the mono era--wasn't made to be heard in stereo.

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.

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.

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

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.

It's no surprise, given how developed Guyville is for a debut, that Phair's playful arrangements and lyrical incision were there from the jump. Her voice expands from singsong to confident as she figures out just what it can do. ... Due to Phair's songwriting and enduring cultural salience (and Wood's production), the album has aged better than the work of her peers. Phair was initially derided for being too pop, but that's what gives Guyville both timelessness and grace.

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

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.

The original album still sparkles, thanks to the remastering job, and the documentary is insightful (most of it came out previously as an episode of Classic Albums). But it’s the non-album material that makes the box set definitive.

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.

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.

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

Adele has never sounded more ferocious than she does on 30—more alive to her own feelings, more virtuosic at shaping them into songs in the key of her own damn life. It’s her toughest, most powerful album yet.

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.

What’s clearer now in hindsight, especially thanks to this new box set, is how the quartet took its collective influences and refracted them into something cohesively “Beatles.” ... Revolver heralded the Beatles’ metamorphosis from greatness into immortality.

All over The Record, they keep recombining their individual styles into a different kind of chemistry for each song. That’s why they transcend any kind of “supergroup” cliché. After all, supergroups are a dime a dozen compared to actual great bands. And boygenius leave no doubt about where they stand.

Her excellent new Guts is another instant classic, with her most ambitious, intimate, and messy songs yet. Olivia’s pop-punk bangers are full of killer lines (“I wanna meet your mom, just to tell her her son sucks”) but she pushes deeper in powerful ballads like “Logical.” All over Guts, she’s so witty, so pissed off, so angsty at the same time, the way only a rock star can be. And this is the album of a truly brilliant rock star.

By the fourth line — "Being this young is art" — it's obvious, the track ["Slut!"] is a stunner. .... The chorus [of "Say Don’t Go"] ("Why'd you have to lead me on? Why'd you have to twist the knife?") hits so tragically hard that it was destined to be screamed by stadiums full of fans at future Eras shows. "Suburban Legends" is a euphoric, dizzying rush to the head, with Antonoff's production making it sound like the soundtrack to the world's most addictive arcade game.