David Fricke on 2018’s Best Reissues: Beatles, Bob Dylan and More – Rolling Stone
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10 Best Reissues of 2018

An expanded White Album, the complete ‘Blood on the Tracks’ and more: the year’s finest archival sounds

best reissues of 2018

David Fricke looks back at 2018's best reissues and archival finds, including releases from Prince, Liz Phair and Tom Petty.

Anniversaries inevitably rule in 2018’s archival-release honors, from the new, extended turbulence of the Beatles’ 1968 White Album to the prophetic depth of Liz Phair’s report on love and losing in the grunge uprising. But vaults also opened wide in memorial — Tom Petty, the private Prince — and surprise: the garage-rock Bob Seger; Bob Dylan at twin peaks of emotional torment and songwriting prowess; the turning-point country siren Bobbie Gentry; and an entire, previously unheard John Coltrane session. The year in reissues, at its best, was history come alive, then written anew.

Bobbie Gentry The Girl From Chickasaw County - The Complete Capitol Masters

Bobbie Gentry, ‘The Girl From Chickasaw County: The Complete Capitol Masters’

The Mississippi-born singer-songwriter’s 1967 major-label debut, “Ode to Billie Joe,” was a country-music landmark, Deep South noir cut with home-demo intimacy and Pet Sounds–like radiance. Her second album, 1968’s The Delta Sweete, was the first country-rock opera, a suite of rural-life memories wreathed in the eerie luxury of Love’s Forever Changes. Later work hewed closer to the country-pop center. But by her final Capitol LP, 1971’s Patchwork, Gentry was still aiming high, writing with Harry Nilsson and Randy Newman ideals. This box — everything she recorded in five years — honors the first alt-country woman.

Bob Seger The Complete Cameo Recordings

Bob Seger, ‘Heavy Music: The Cameo Recordings 1966–1967’

In the late Sixties, before he ascended to heartland-Springsteen fame, Seger was Detroit’s Jagger-Richards, scoring regional smashes with raw, thrilling originals (“East Side Story,” “Heavy Music”) fusing Rolling Stones–style R&B with Motown-style songwriting and Midwest factory-life attitude. Half a century, these 10 A and B sides from Seger’s teen-beat era — including exuberant pastiches of James Brown and Bob Dylan — are still among his greatest hits.

Liz Phair Girly Sound to Guyville

Liz Phair, ‘Girly Sound to Guyville’

The road to Exile in Guyville Liz Phair’s 1993 double-album–length treatise on the hazards of pleasure and commitment in a male-angst underground — was paved by a torrent of home-recorded demos, issued in 1991 as a series of cassettes. This release is the full map, opening with Phair’s complete Girly-Sound tapes and documenting songs like “Fuck and Run” and “Johnny Sunshine” as they grow out of haunted, interior frustration to rattling, public disclosure. Twenty-five years later, Phair’s blues and fury still bristle with perfect timing.

Zuider Zee Zeenith

Zuider Zee, ‘Zeenith’

Recorded in Memphis between 1972 and 1974 but left behind on the way to their 1975 self-titled overlooked debut for Columbia, these demos by this curiously named band originally from Louisiana combine power-pop charge and progressive-rock ambition, as if Yes had made the Beatles’ Abbey Road with David Bowie’s Ziggy Stardust sidekick, Mick Ronson, on guitars. It’s the kind of rock-critic catnip that should have made Zuider Zee a cult sensation. It’s not too late.

John Coltrane Both Directions at Once The Lost Album

John Coltrane, ‘Both Directions at Once: The Lost Album’

The subtitle is not an exaggeration. Coltrane’s performances with pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, recorded on March 6th, 1963, survived only as mono-tape copies given to the saxophonist. An untitled blues and multiple takes of the modal showcase “Impressions” suggest a rehearsal. But even in a year in which Coltrane released four albums, this music is more than a footnote; it is sublime, searching and essential.

Wire Pink Flag Special Edition

Wire, ‘Pink Flag: Special Edition’

Released in late 1977, a few weeks after the Ramones’ third LP and the Sex Pistols’ Never Mind the Bollocks, Wire’s debut album opened the post-punk era with a deceptively complex minimalism: bone-like writing with machine-gun tension and an ingenious, melodic grip. Wire’s next albums, 1978’s Chairs Missing and 1979’s 154, were as bold in their dynamic and textural progression. All three get the enriched, definitive treatment — demos, non-LP tracks, art-book packaging — they deserve in these editions. 

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