Indispensable, but that’s no surprise.

This is still music with a lot of virtuosity, and a great many notes, but it and its players are living its adaptability, as the evidence reveals all we have previously believed this composition to be, a confluence of free improvisation and what later became “spiritual jazz”. [Dec 2021, p.43]

This boxset – beautiful, thorough, a labour of love, offers an opportunity for many more of us to hear and to reconsider Nyro’s music; to sit there, like Alice Cooper, and go, “That’s songwriting.”

It is quite simply stunning. [Apr 2022, p.30]

As with Martin's other special edition remixes, his work is subtle and tasteful. ... Listening to this package, it's clearer than ever just how Revolver set the template for the Beatles' future. ... Their peak, as well as the end of something - can be found here. [Dec 2022, p.40]

80 minutes of astonishingly powerful and beautifully preserved music. [Sep 2023, p.43]

In this sparer setting, the extra space plays to the benefit of McCartney’s loyal co-travellers: “No Words”, which serves reminder just how vital the harmonies of Linda and the song’s co-writer Denny Laine were when it came to defining the Wings sound; Linda’s purring ARP Odyssey and MiniMoog contributions are what suddenly take centrestage on “Jet” and a rollicking vocal-free canter through “Nineteen Hundred And Eighty Five”. Yet, none of that detracts from the primary energy source of Band On The Run. [Feb 2024, p.42]

It's all done with such obvious love and affection and literate craft that Rouse has gone and made one of the albums of the year. Even if the year is 1972. [Oct 2003, p.114]

Not for the faint-hearted, Damien Jurado is a habit which won't necessarily bring joy to the listener. But once acquired, you will find it hard to kick. [Apr 2003, p.106]

A considerable advance on predecessor 604.... This is sublime, subtle, subversive stuff. [Dec 2002, p.150]

Songwriting of the highest calibre. [Sep 2003, p.104]

A brilliant fusion of no-wave disco, dub-punk, early Factory aesthetics and post-rock technique. [Dec 2002, p.134]

This is audaciously modern in its textural absorption of outre sounds from the 21st-century dance underground. [Dec 2002, p.136]

Frantic is packed with potential singles, as if he's decided it's not crime to enjoy himself, to embrace foolish things earthier than Avalon. This is classic Ferry, but full of surprises. [May 2002, p.92]

Saloon's light touch makes a strong impact. Wonderful. [Aug 2003 p.104]

Takes his lush, orchestrated pop to staggering new heights. [Nov 2003, p.124]

This is a thrilling album, one that contains an extremity of sound and emotion that's unlikely to be matched by anyone else this year. [Album of the Month, Aug 2004, p.90]

Spare, beautiful, outstanding. [Jul 2003, p.128]

A classic of modern psychedelia. [Jun 2005, p.113]

Like Disney on methadone scored by Jack Nitzsche with a gun against his own head, trying to remember this soundtrack he once wanted to make, which teamed Judy Garland and Neil Young. [Album Of The Month] [Sept 2001, p.86]

A highly satisfying bridge between the log-cabin museum pieces of Revival and Hell Among The Yearlings and a more rockin', Basement Tapes-ish Americana. [Album of the Month, Aug 2003, p.96]

The album's undisputed highlights are "Hit Somebody! (The Hockey Song)" and "Genius." [Album of the Month, July 2002, p.100]

A beautiful record. [Nov 2003, p.122]

Their music is an intoxicatingly vivid evocation of the mythology of the American west and its Hispanic heritage, and Feast Of Wire lays down an optimistically early marker as one of the albums of the year. [Mar 2003, p.98]

One of the most adrenalising albums you'll hear this year. [Sep 2002, p.110]

Where in the past he has often impressed rather than engaged us, here there's an emotional warmth that makes it by some distance the best record he's ever made. [Apr 2003, p.110]

A truly exhilarating 50 minutes of music. [Dec 2003, p.122]

The sound of a major talent gone major league. [Apr 2003, p.105]