While the remastering is a major improvement on previous CD releases, it is the session discs that are of most interest to anyone who grew up with this timeless record. [Nov 2013, p.101]

Lovers of rock both classic and current will be blown away. [Apr 2015, p.94]

Finley applies versatile pipes and stinging licks to extraordinary songs of broad experience. [Dec 2023, p.79]

This is a delight, a cleansing. [Nov 2024, p.77]

Wonderfully cohesive hour of vein-popping indignation. [Sep 2019, p.82]

33 years in, Suede aren't treading any water. [Oct 2025, p.78]

The Ballad Of Spook And Mercy sounds like Kill Bill spliced with From Dusk Til Dawn, while piano lament More Than Death closes the story drenched in blood, regret and a little romantic redemption. [Nov 2023, p.79]

Five CDs is probably too much intensity for anyone to take, but Superunknown itself is a pitch-black delight. [Summer 2014, p.95]

Close To The Noise Floor covers the full spectrum from sublime to ridiculous, but the sheer range of sonic innovation, warped beauty and dark humour here is hugely impressive.

The band's evident love for the material floods the performances, even though they can overdo the jamming when they get a groove going and reverence dampens Hooker's guest spot. But Petty's own songs, deployed sparingly, sound infinitely fresher and tighter. [Dec 2022, p.85]

From the fourth set of bonus tracks, Fantastic is a swelling resolution to see in a new century. Strummer commits to a ‘ramshackle parade’, but sadly he would see little of it. Nevertheless, the music seems to resonate more than ever.

This is primarily a curio, but a fascinating one as it indicates directions Young could have taken if the weather had been different that day. [Oct 2023, p.91]

The singer and guitarist's seventh album is a sparkling gem in its own right. [Jan 2024, p.78]

There is enough fire-breathing mania and lusty exaltation on Live God to make it a reliably thorough document of the Bad Seeds in full autumnal glory. [Feb 2026, p.78]

The gritty stomp of Where The Devil Don't Stay and the anthemic thrust of Carl Perkins' Cadillac and Day John Henry Died still resonate. .... The restored extras also hit home. [Summer 2023, p.84]

To Be Kind is evidence that they continue to grow and may not have reached their peak yet. It's superb for now, though. [Summer 2014, p.90]

The USA in the year of Trump, though, has inspired Drive-By Truckers to make this lacerating denunciation of the state of their nation, which stands right up there with Springsteen’s Wrecking Ball and their own best work.

There are 55 unreleased tracks here to tempt owners of the many previous Fairport box sets, and 2010’s Sandy Denny monument. What becomes clear, as Denny wanders in and out of the picture, is how she and Fairport defined each other.

It may not match the mind-melting complexity or bold inventiveness of their finest hour, but War Music solidly demonstrates that Refused's passion remains undimmed. [Nov 2019, p.82]

A fearsome riffstorm of therapeutic venting. [Summer 2021, p.87]

Sporadically great but decidedly patchy, A Moon Shaped Pool is not the sound of a great band dying, more a great band spreading themselves too thinly.

An essential album that gets better with every listen. [Nov 2020, p.86]

While it's not all ace material, it's still an atmospheric cocktail of pain, hope, despair and romance. [Jun 2018, p.91]

With That’s The Spirit, they’ve hit a new direction and a creative peak that finally matches their thirst for fame and fortune.

Such is Taylor’s bristling conviction, and the mastery of his sparse instrumentation, that he holds you transfixed.

The whole thing sounds like a great lost album. Which of course it is. [Summer 2019, p.93]

The 1LP version is heaven-sent hitsville. .... The 3LP version is where things loosen up, as (relative) deep cuts strut their stuff. [Dec 2025, p.83]

This is no pure nostalgia trip, though. Both House Of A Thousand Guitars and Rainmaker take shots at the ‘criminal clown’ in the White House, and Letter To You is as young at heart as any of Springsteen’s proudest moments, a sign that we’re some way off the credits yet.