While there is still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth.... Of the first three reissues, Led Zeppelin III contains the highest quotient of unheard tunes: precisely two, although one of these doesn't quite feel new.

A fully realized masterpiece.

While longtime fans may want to replace their original LPs with these quality pressings, this set is well worth the investment for anyone interested in guitar players, blues, and British folk.

Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time.

This is one of the best rock & roll albums of 2003, and truly the finest, most cohesive work he did after London Calling.

No surprises in terms of material, but the presentation is exquisite, sounding familiar and fresh, a stunning re-presentation of records that were teetering on the edge of over-familiarity.

A fairly brilliant expansion of his debut, turning his spare, menacing hip-hop into a hyper-surreal, wittily disturbing thrill ride.

Those consumers in the market for the earliest Elvis will be satisfied by this, as it not only has everything in one convenient box but the addition of the live material does provide a nice coda to the familiar Sun sessions.

The Best of the Black President is simply a stellar collection that bests any two-disc collection out there as it represents the continued evolution of Fela Kuti's music from the 1960s through the 1990s.

Although the album isn't as varied as some of their later efforts, it nevertheless marked a significant turning point in the evolution of hard rock and heavy metal.... Zeppelin never felt this nervy again: they harnessed their majesty and knew how to deploy it, but here it still seems like they weren't quite sure of their limits, which is why it's a particularly exciting bonus disc [a concert given at the Olympia in Paris in 1969].

Diamond knows just how good these recordings are, as indicated by the terrific autobiographical liner notes he's penned for this collection, notes that give this music context, but they're not necessary to appreciate The Bang Years: this is pop music that's so pure it needs no explanation.

While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint.

It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition.

That's a lot of repetition but whether it's taken in either its single-disc or double-disc deluxe editions, The Sound of the Smiths is the best of these posthumous overviews.

It's quite arguable that this lean, muscular remix is a marked improvement on the original mix, as it's easier to focus on both the songs and group's interplay.

Daft Punk are such stellar, meticulous producers that they make any sound work, even superficially dated ones like spastic early-'80s electro/R&B ("Short Circuit") or faux-orchestral synthesizer baroque ("Veridis Quo").

This set is every bit as necessary as the solo albums by the singers, and perhaps even more than the studio effort. It is not only a historical document; it is a living, breathing piece of work that guarantees the transference of emotion from tape to listener, and cements the Buena Vista Social Club's place not only in the Latin music pantheon, but in the larger context of popular music history.

On Grey Area, it feels as if everything has come together in perfect unison, resulting in one of the strongest rap albums of 2019.

At their best, they're an overwhelming sonic force, and Diotima is their best album to date.

These sly revisions gave the 1975 album a slight veneer that's been stripped away by this unfussy, startlingly clear remastering, but the big difference is that the chronological sequence on The Basement Tapes Complete gives the set a narrative.

As good as Martin's remix is--it may not be as revelatory as his stereo remix of Sgt. Pepper in 2017, but it does manage the trick of sounding rich and bold without betraying the feel of the original--the real appeal of this deluxe reissue is the unreleased material, all presented in sparkling fidelity. This high fidelity is especially welcome on the Esher demos. ... Taken on their own, the session tapes are absorbing listening, but they also have the side effect of making the finished The Beatles not seem like a mess, but rather a deft, cleverly constructed album that accurately reflects the abundant creativity of these sessions.

The sound of the SACD is vibrant, present, and life-like, particularly in the little match girl passion. Highly recommended for fans of new music.

The Ties That Bind: The River Collection, like a high-profile DVD release of the 2000s, is more about the bonus features than the main feature, but the extras lend an invaluable perspective to one of the most important works in Springsteen's catalog, and this set makes it possible to imagine the many chapters that could have been added or removed from the album while still telling the same powerful story, as well as documenting the thought and effort Springsteen put into the process.

Hints of this could be heard on the live comp From the Muddy Banks of the Wishkah, but this is a complete document of Nirvana in full flight and one of the greatest live rock & roll albums ever.

It's that depth of detail, combined with the masterful sequencing, that makes Higher! such a superb box set: it tells a familiar story in a fresh fashion.

What's Going On was Marvin Gaye's masterwork, the most perfect expression of an artist's hope, anger, and concern ever recorded.

By breaking down the barriers that separated these three albums, The Cutting Edge shows how for Dylan during this blinding, brilliant peak his music was a living thing, evolving from song to song, take to take, where the quest itself was as transcendent as the final destination.

Though it's a shame that their 1990 reunion album Chain isn't acknowledged, Pylon Box is an otherwise near-flawless summation of a great and unique band, and it's absolutely worth every penny of its purchase price.

It takes a few listens to pull everything together, but given the immense scope, it's striking how few weak tracks there are. It's no wonder Stankonia consolidated OutKast's status as critics' darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000.

It's possible to appreciate just how much Butch Vig brought to Siamese Dream....This set is clearly designed with dedicated fans in mind, but for those diehards, this Deluxe Edition will offer many gems.

The real selling point to both the Deluxe Edition and especially the Super Deluxe Editions are the live material. The second disc is rounded out with five selections from the Roundhouse in 1971, killers every one, but they're eclipsed by the first official release of Get Yer Leeds Lungs Out on the third disc of the Super Deluxe Editions.

One of the most assured, propulsive full-lengths the dance world had seen since Daft Punk's Homework.

Some of the remixes sound like little more than historical curios, but a surprising amount are either vigorous or imaginative and they all underscore how Achtung Baby truly was the first U2 album that could lend itself to these kind of mixes.

Much of the spooky sparseness of Girly-Sound was stripped away on Exile in Guyville, which in this context feels big, bold, and colorful--not the beginning of something, but rather the culmination of fearless bedroom exploration. When paired, it's impossible to deny that both Exile and Girly-Sound retain their artful power: What's amazing about this reissue is, it points out how distinct those two projects are.

These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year. Hardcore fans will definitely find the big set to be a worthwhile investment.

It's fitting that an album that truly deserves an expanded edition not only gets the deluxe edition it deserves, but one that makes a convincing argument that the sometimes ridiculous practice of expanded, multi-disc editions has a purpose after all.

Like most of the Zeppelin reissues, the alternate versions reaffirm that Page made the right decisions the first time around, but these seven versions all make for worthy listening in their own right.

The main difference between the two albums is that the first volume retains a sense of discovery, whereas the second is made with the confidence that this particular formula works. In either case, the two albums -- whether heard individually or as a pair, as they so often are -- aren't so much complements but of a piece, music that changed the course of popular music and remains a testament to the genius of Ray Charles.

Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period.

Kickin’ Child not only ranks with Dion’s best (standing between career highlights "Runaround Sue" and "Abraham Martin and John"), but it's absolutely one of the greatest folk-rock records ever.

Rooty is the second straight triumph from a pair of producer/DJs who look set to carry the torch for dancefloor electronica in the years to come.

Smart selections make this the best and handiest introduction to a group crucial to the development of industrial, post-punk, and dance music.

Although nothing here may eclipse the original Appetite for Destruction, everything added to this deluxe edition enhances the album, offering proof of Guns N' Roses's immense skill while also illustrating how the band captured lighting in a bottle on their debut.

77-81 is a brilliant testament to their visionary impact and lasting importance.

Because so much of this music is raw--it's alternately live, unfinished, and improvisatory--the box underscores how Pink Floyd were an underground band right up until Dark Side. Decades later, these recordings still feel boundless: this was music made without a destination in mind and the journey remains thrilling.

Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope.... A song or two feels slightly different--"Misty Mountain Hop" jumps a bit as it seems to groove a little bit stronger--but by and large this [supplemental] disc shows that as a producer, Page not only knew where he wanted to go but he knew how to get it right the first time.

Throughout the record, the band's playing is excellent, making the eclecticism of Page and Robert Plant's songwriting sound coherent and natural.... This Houses Of The Holy supplement ultimately confirms that Page and Zeppelin made the right choices the first time around.

Biokinetics is a stunning summation of the Basic Channel aesthetic.

Hard Luck Stories is evidence Richard & Linda Thompson's union was more than worthwhile. However things ended, they created something truly special, and this is as consistently excellent and rewarding as any box set of the past decade.

This is one of the most assaultive, addictive albums around, a rip-roaring journey through sonic violence that will leave most quivering in the corner and others (a special few) totally enraptured.

The set contains much of Ra's more accessible work, making it an excellent (and very generous) introduction for newcomers, but there's also plenty of material that might've escaped notice from longtime fans.

Satan Is Real is music crafted by true believers sharing their faith, and its power goes beyond Christian doctrine into something at once deeply personal and truly universal, and the result is the Louvin Brothers' masterpiece.

They have never shown such control on a record before -- previously, their best albums were exciting because they went all over the place, and did it well -- and it's quite intoxicating to hear them ride one groove, finding different variations within it, for an entire album.

Mostly, it means that Joy'All hums to a rhythm that's happy, if not quite beatific: Lewis bears her sorrows and scars proudly, which makes the sepia-toned positivity of the album feel earned.

Saturn Return hews closely to the evocative, Southern gothic swoon of its predecessor, 2017's splendid You Don't Own Me Anymore, but it does so with the dividend of confidence that the latter effort had to earn.

Quarter Turns Over a Living Line is the group's fine and uneasy full-length debut.

Singles shows that their craftsmanship and good taste may have been their most defining quality.

Born Free goes a long, long way toward keeping that heartland flame burning bright: it's familiar yet fresh, and song for song it's the best album Kid Rock has cut since Devil Without a Cause.

It is searing, raw and lusty, tender, open and vulnerable.

Basically, Woods have put it all together on Sun and Shade, matching inspiration with performance and crafting their best record yet, one that will stand with the great folk-psych albums of the past 40 years, from the Notorious Byrd Brothers to the Rain Parade's Emergency Third Rail Power Trip to Either/Or to now.

A mesmerizing 11-song set that pairs bracing hardcore with expansive symphonic and post-metal.

It's a record where the sum is greater than the individual parts.

What sounded austere on Fan Dance sounds simple on A Boot and a Shoe, and it's the differing inferences of those two adjectives that makes all the difference.

It's a gloves-off catharsis occurring in real time for the gifted singer/songwriter, and it leaves a mark on the listener as well.

A triumph in its own right, I Inside the Old Year Dying's lively exploration is also a rekindling of something vital in Harvey's art in general. Though its whispers and shadows may not reveal everything, they're more than enough for a fascinating listening experience.

The epic length of Our Raw Heart requires patience. While it unfolds slowly, the reward is big. It's shot through with musical invention and a clarity that makes it the new high-water mark in this trio's oeuvre.

There's no crybaby posing here, no deployment of cliché. Even if SDRE had a hand in the popularization of the emo movement, the Fire Theft's music is much too personal to be anything other than a therapy session, both for Enigk and his musical co-conspirators and friends.

SURVIVAL HORROR is one of the band's best distillations of their extremes, providing just enough brutality without sacrificing their evolving vision of how melodic and experimental a metal band can be.

Perhaps it doesn't have the kinetic energy or sense of adventure that mark the genre's true classics from No Dice till Girlfriend, but Alternative to Love also exists in an era that's enamored with the past and doesn't take many risks, and on those terms, it's the perfect power pop album for its decade.

Andorra may be a bedroom record, but it certainly doesn't sound like a bedroom record; it has the energy and intensity of group participation, and that makes it Snaith's best yet.

While PROTO could be impressive for its groundbreaking nature alone, Herndon's meditations on the relationship between humans and increasingly sentient technology are moving and filled with a sense of wonder that makes a rewarding coexistence with AI seem more than possible.

Thirteenth Step is the sound of a musical and lyrical maturity that normally doesn't occur until a band's third or fourth albums.

Yet another triumph for the Beta Band.

Wry, riveting, chaotic, and infectious throughout, Where's My Utopia? easily upstages what was an impressive debut.

Spoon's most mature, accomplished work to date and a fine balance of fire and polish.

Franti and Spearhead almost made a deliberate attempt to stray from the typical hip-hop beats and go for something a bit more organic and acoustic than their previous efforts -- and the experiments more than pay off.

Overall, Joy as an Act of Resistance manages to plumb new depths for Idles -- that they've achieved another record in such a short space of time is admirable, let alone one that shines head and shoulders over the majority of their peers -- and it certainly upholds their status as one of the U.K.'s most exciting new acts.

It both makes the listener feel warmly good and tearfully bad at the same time. That's a satisfying dichotomy and one that's hard to pull off. With Le Bon and his band's help, Evans has done it and in the process made the best H. Hawkline record to date.

It's exciting and unique music, not falling neatly in with any of his dubstep/singer/songwriter peers or the large number of indie-leaning electronic producers.

Coral Island is the band at their best, effortlessly conjuring up the glorious ghosts of rock & roll's past and turning those sounds into something timeless and instantly rewarding at once.

Any of its retro origins are washed away by big, dumb sounds that keep the record grounded in the eternal now, an aesthetic choice that also helps the album be a rousing good time.

Much of Reunions mirrors a troubled present, but "Letting You Go" finds room for hope and humanity, and it reinforces the themes of what may be Jason Isbell's strongest solo effort to date.

Descendants of Cain proves an exceptional listen. Pairing Ryan’s sublime lyricism with organic production and a precisely constructed concept, the MC’s fifth project is a superb statement piece from one of rap’s most ingenious poets.

This leathery roots record contains music that bridges the gap between frail flesh and powerful spirit ruggedly, sensually, and honestly, making it a work of high art.

This is still a Dr. Dog album and it's bound to put a smile on your face. These guys have a real knack for making classic-sounding rock & roll and Shame, Shame is the sound of a fine band really hitting its stride.

Silver Ladders doesn't require close listening to locate its emotional currents. It's a gorgeous immersion in loneliness, solitude, and perseverance that immediately sets a mood and could soundtrack the entirety of the colder seasons.

30 Seconds to Mars has managed to record an album that breathes life into the empty shell that corporate rock has become, and in reanimating an avenue of musical expression that has for many years been on its deathbed, has quite possibly offered the single best rock experience of 2002.

Howl of the Lonely Crowd will get some notice due to the people who produced it, as it should, but at its core it's further proof of Comet Gain as one of the great hidden rock & roll treasures of the last 20 years.

From the sweeping "Surrender" and "River Song" to the gospel-tinged epic hymnal of the title track, Birdy outdoes herself with Young Heart, a pensive journey that offers some solace and a shoulder to cry on.

Black Origami is a monumental achievement, yet it still seems like Jlin is just getting started.

The group doesn't disregard songs; the songs are nimble and open-ended, inviting exploration but also ready to be played simply. The result is the CRB's best record to date: one that captures their trippy side as easily as it showcases their sturdy foundation.

It shocks by sounding as vital as Dinosaur Jr. ever has. Deciding to not to build upon the expansive textures of I Bet on Sky, the trio nevertheless sounds vividly oversaturated throughout Give a Glimpse of What Yer Not.

Rarely does a double album (or a quadruple EP?) sound so revitalizing, but Django Django somehow pull it off on their best release in years.

Altogether, Central City is a total riot and fun as hell, the culmination of years of grinding and fighting to place New Orleans bounce on an even larger stage.

Night Falls Over Kortadela is witty, pretty, silly, and wise; and filled with instantly memorable melodies, thrilling moments of surprise in the arrangements, and laugh-out-loud lyrics.

It's an album meant to be discovered and lived with, revealing its jokes and its beauty over time.

'Dancing Choose's' title is pointed enough that the song almost doesn't need to prove that dancing on your troubles is powerfully therapeutic as thoroughly as it does, but that's just another example of this album's rare balance between craft and passion.

Sure, it's messy, but Alex Chilton always was--it's also some of his richest and best music, and it's never sounded better than it does on Free Again: The 1970 Sessions.