A massive reissue box set has shed a glowing and loving light on this classic collection. ... Starting with the first disc, the remastered version improves the separation of the instruments and restores the warmth of the priceless harmonies that flowed from the original vinyl release. ... The box set is dominated by the acoustic wooden music on which the group built their reputation, but not surprisingly it is Stills who plugs in and cranks it up on several tracks. The tracks come in a bit jarring, but soon grab your ear.

This record recasts her unnerving spell--brooding country-pop riffs that conceal devastating lyrics. [May 2003, p.116]

Rough and Rowdy Days is a typically astounding, kaleidoscopic journey through the last half-century of American history. ... Dylan lapped us a long time ago. He’s still sprinting far ahead. And now he definitely can’t be caught.

While the novelty factor alone makes it worth the download time, it works as a cohesive album long after the initial shock wears off. [Apr 2004, p.91]

Is it essential? Absolutely. With only a guitar or piano, and a voice that is developing into one of the most expressive in rock, Marshall crafts deeply textured explorations of heartache, terror, longing, dismay, and emotions I'm pretty sure I've not found yet.... Rock will see few finer releases this year.

Pink showcases every sound Boris can make.

Not since Grateful Dead's Europe '72 has there been a live double album in which intimacy and expansiveness, guitar mess and piano reflection commingle this sweetly. [Dec 2005, p.107]

The toughest record ever made by a former mainstream country artist.... If all the songs don't rival her finest work, the arrangements pull them up. [May 2004, p.105]

Will likely be the best political album this year. [Mar 2005, p.88]

Across nine tracks, singer/guitarist Niko Kapetan and drummer Bailey Minzenberger bounce effortlessly from fragile ballads to punk rippers to chamber-pop crescendos, somehow both fully in control and barely holding it together.

The relative quietude—there are still grooves aplenty—makes you lean in, sizing up elements of songcraft and musicianship that might’ve previously hid underneath the band’s dancy, psychedelic scrim. This serves Khruangbin well, since they make music to Santo & Johnny’s level of wistfulness, and they can play their asses off. The performances are so good, in fact, you sometimes want to divide them into stems.

Heartfelt guitar rock capable of punching you in the gut and patting you on the back. [Aug 2003, p.114]

Feel Flows is an absolutely essential document that takes the first steps toward rewriting the story of a band that managed to persevere against overwhelming odds.

Beam has given us his second straight masterwork: self-assured, spellbinding, and richly, refreshingly adult. [Apr 2004, p.89]

On this generous double album (with Lloyd on sax and flute, Jason Moran on piano, Larry Grenadier on bass, and Brian Blade on drums), he draws on impressionism, post-bop glory, and gospel-soul. Passages sparkle lyrical here, spark with friction there, always marked by depth and humanity, inventive and engaging and always illuminating.

Instead of the pleasing pop potpourri of their last album... the 13 songs on And Then Nothing . . . flow together subtly, all texture, mood and shade.... Yo La Tengo's tenth collection of warm, tiny songs is by far the finest in their careers...

Even more dense and brutal than Burma's early records. [Jun 2004, p.103]

"Sister Ray" comes across like a medley has so many shifts in speed, volume, and energy that it seems more like a medley than a concentrated take on the White Light/White Heat epic. It's the brightest gem among many in the collection, which consolidates all of the group's many faces into one cohesive opus.

This is Lage’s statement, and as both player and composer he seamlessly connects Django Reinhardt to Joe Pass, Charlie Christian to Bill Frisell, all the way forging his own paths, his immense talents given voice by his joyously open spirit.

The lyrics explore suburban everyguyism, but the choruses explode like fireworks over a church picnic. [Jul 2003, p.109]

A bruisingly great collection of demented 1988-style boom-bap. [May 2004, p.107]

They channel experimental noise, acid-drenched riffs, and live-show spontaneity into a record of brilliantly crafted nuggets of lysergic rock that is easily their most consistent effort to date.

A warm and deeply engaging snapshot of fractured relationships and existential dread. [Aug 2003, p.116]

This is a record that creates tension from the cryptic and release from the inexplicable. [Jul 2003, p.105]

Half expansive, burnished radio-rock, half swampy Delta hoodoo-hollerin' that reeks of Brock's Southern sojourn. [May 2004, p.103]

Lstenability is the difference between the majesty of this 79-minute behemoth on paper, and the songs it needs to succeed. So let's give it up to the astounding thicket of music here, the best-produced rap since the dawn of Drake.

Mostly great. [Jan 2005, p.96]

It feels more like a band playingto a multitude of strengths than the formal wrestling of Kid A. [Jul 2003, p.103]