OK Computer never stopped sounding timeless. In its new form as OKNOTOK, unreleased songs feed off beloved B-sides, forming a web that supports the concrete themes of the original album so as to make its points even sharper.

The Basement Tapes Raw, like the original ’75 release, blends brilliant performances with pure curiosities. What’s remarkable, though, are how many beautiful, emotionally daunting moments came into being during these rather informal sessions.

What makes Rumours so remarkable and relevant is that it remains fragile and passionate 35 years later.... From a historical, archival standpoint, this package is extremely valuable, as Rhino left in the studio banter and rough cuts from the recording sessions; you get to overhear Fleetwood Mac as they make the record.

Resounding with enchanting vocals, a distinctly dusk-singed ambience and a keen precision thanks to its percussion, Blue Lines transcends the spills onto the dance floor and tinny thumps from laptop speakers, possessing a cosmic ability to remain a masterpiece 21 years after its release.

Bolt Cutters delivers a much-needed auditory exercise for the sequestered masses and surely one of the best albums to grace us in 2020. Eight long years later, Fiona Apple proves her return was worth every second in waiting.

While not the towering achievement of its brothers in numerology, Led Zeppelin III remains one of the great albums in rock and roll history, significant for its role in establishing the legend of Led Zeppelin that would become fact with Led Zeppelin IV.

The remastering of this album is a blessing to the careful compositions and mannered performances throughout the record.

Remastered by Page himself, this is the best digital version of Physical Graffiti available and the definitive way to hear the album if you don’t own a turntable.

Led Zeppelin I is a fantastic glimpse into the time capsule, a standing testament to rock pageantry.

Kendrick can’t be Pac or know everything it took to be him, but he isn’t going to let doubts stop him from making groundbreaking music. With To Pimp a Butterfly, it’s never been more apparent that he’s doing just that and prepared to stride past any and all obstacles.

The biblical book of Hebrews says, “Faith is the assurance of things hoped for, the conviction of things not seen.” Never has an album expressed this idea clearer than Ghosteen.

The band opened the vaults for this reissue to give us a sparkling remaster, a sturdy live set from the 40 Watt Club (though it hardly begs for canonization like 2009’s revelatory, rarity-packed Live at the Olympia), and a juicy third disc of demos. Some of these are pretty fun.

There's more than enough here to disavow thoughts that this is a needless cash grab by Corgan.

It's easy to lose yourself in the countless studio takes. Little gasps of pure genius here and there. The slow dissolution to it all. The echoes of things to come. It's a history lesson come to life, and that's part of the reason the collection here works so well.

On “DNA.”, Kendrick slices himself down the middle, spills his guts, and mines the finer points of all of his moving parts over an 808-heavy production from Mike Will Made It. The combination may sound to purists like it should not work on paper, but it is absolute fire, and they reprise their magic again on “HUMBLE.” and “XXX.”, challenging rap’s own perceptions of itself and what value really boils down to from the Hot 100 to the underground.

LZII could’ve used a live version or two to highlight the energy of the late ’60s--an era that remains especially mythical for those of us who weren’t there. As a two-disc set, though, this reissue is both a reminder of the original album’s wallop and a closer look at the alchemy of a band increasingly attuned to ideas of progression.

Dylan could use some editing here, for sure, but it’d be even better to let his band off their leashes and, like in the old juke joint featured on the album’s cover, close the windows and let it get hot in there.

With Black Messiah, D’Angelo has silenced any doubters and re-confirmed his invitation as the heir apparent to the R&B throne, whether he continues to refuse the honor or not.

Thanks to all involved in this loving project, we get a better chance to explore and understand what made Wildflowers bloom as fragrant and beautiful as it did more than a quarter century ago and what made Petty the perfect talent to pluck those blooms from the studio weeds.

In spite of everything that Oasis would become on record, on stage, in the tabloids, Definitely Maybe stands above it all.

Twenty-one years later, Gentlemen remains as much an outlier as ever due to its unlikely fusion of sounds and uncompromising view that breakups are as much about anger and resentment as wallowing and pining. Listen to Gentlemen again, and you’ll find it’s all still “in our heart, in our heads, in our love, and in our beds.”

As an artist, he needed to release the record in just this way in order to process his pain. Skeleton Tree was released for us, but it’s for him.

Come in expecting a mystical journey and take it for what it is--an hour-long, drug-infused jam--and you'll be pulled right in.

There is no question that this album is a game changer. It's Kanye West's greatest work.

If anything, the extras better inform the choices eventually made on the band's debut, highlighting just how great a record it turned out to be (since, basically, they'd been doing it from song one). Put simply, Icky Mettle is a gem of early '90s rock worthy of a place in the indie Smithsonian.

A stunning listening experience, even for longtime fans of Rosalía.

It’s in her own vocal and musical versatility that Polachek can create a new map to discover, and the results are nothing short of thrilling.

Even without the bonus disc full of rare goodies, this remastered version of Lifes Rich Pageant is required listening.