The Best Reissues of 2014 - Rolling Stone
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The Best Reissues of 2014

A frequently updated round-up of our favorite deluxe box-sets, lovingly curated compilations and recently unearthed treasures

Elton John Led zeppelin Oasis Johnny cashElton John Led zeppelin Oasis Johnny cash

Elton John, Goodbye 'Yellow Brick Road: 40th Anniversary Box Set'; Led Zeppelin, 'Led Zeppelin III (Deluxe Edition)'; Oasis, 'Definitely Maybe'; Johnny Cash, 'Out Among the Stars'

Courtesy of Island Records; Atlantic Records; Big Brother; Columbia/Legacy

Update: October 8th, 2014

5 Stars:

The Allman Brothers Band, The 1971 Fillmore East Recordings
The jazz-tinged, blues-rocking, dependably mind-melding early apex of the Allmans’ 45-year career is captured on six discs documenting the four March 1971 shows from which the sextet’s live masterpiece, At the Fillmore, was culled. (Disk six contains the previously released June venue closer.) Though sadly lacking anything from the run’s horn-augmented opening night, Recordings captures a seriously road-honed band playing basically the same set until they get it righteous. There are magical moments aplenty, especially in four extended versions each of “In Memory of Elizabeth Reed,” “Whipping Post” and “You Don’t Love Me,” along with the 35-minute “Mountain Jam” released on Eat a Peach. By Richard Gehr

4.5 Stars:

Elvis Presley, That’s the Way It Is: Deluxe Edition
This deluxe edition of the 1970 concert film and soundtrack Elvis: That’s the Way It Is stands as the ultimate word on one of Presley’s finest hours. With 10 discs including the original album, six full concerts, nearly an hour’s worth of rehearsals, and two versions of the film, it’s the most comprehensive document of a crucial moment in the singer’s life. In 1970, Elvis Presley, still riding high on the wave of his stunning ’68 comeback special, had assembled the core of the backing band that would play with him until his death, cut a couple of hit records in Memphis and nestled himself deep into the Las Vegas residency that came to define all Vegas residencies since. When filmmaker Denis Sanders set about making this documentary, the 35-year-old icon was a Sin City showman still in the infancy of his white jumpsuit phase, one that could live up to the legacies of Frank Sinatra and Dean Martin with a sense of humor that ran playful but not too cheesy. Both the film and the quasi-soundtrack capture Presley the adult, self-conscious enough to joke about needing to drink Gatorade at nearly every show but still nimble enough to throw himself about the stage with aplomb. The bonus concerts find him delivering impassioned renditions of everything from “You’ve Lost That Loving Feeling” and “Sweet Caroline” to his Vegas-fied versions of his own hits like “That’s All Right” and “Love Me,” along with about 50 other songs. By Kory Grow

Marshall Allen Presents Sun Ra and His Arkestra, In the Orbit of Ra
Anyone unfamiliar with the work of the enigmatic pianist, composer and bandleader Sun Ra could do worse than achieve initiation this accessibly outré two-CD compilation curated by 90-year-old Marshall Allen. A member of Sun Ra’s Arkestra since the late Fifties, and the band’s leader since 1995, Allen focuses on the cultish combo’s most luminously focused performances, remastered from Ra’s original Saturn-label releases. They range from spare sonic excursions like “Somewhere in Space,” which finds the band’s horn section of Allen, Pat Patrick and John Gilmore soloing over a faux-Egyptian shuffle in 1960, to the 20-member Afro-symphonic orchestra navigating new musical dimensions in 1972’s “Astro Black.” The Arkestra’s peerless horns, their loping rhythm section, June Tyson’s space-goddess vocals and Sun Ra’s fifth-dimensional pianistic bebop will hook even the most earthbound ears into a profoundly unique gravitational field. By Richard Gehr

Bob Wills and His Texas Playboys, Riding Your Way: The Lost Transcriptions for Tiffany Music 1946-1947
Recorded in 1946 and ’47 with Bob Wills’ most famous band, this selection of more than 400 songs recorded for his Tiffany Music Company is a kind of Rosetta stone for the merge of urban and rural music — blending hillbilly songs, swing jazz, fiddle tunes and country blues into a sound both homey and highly commercial. The miracle isn’t how much stylistic ground they covered, but how casually, and with so little pretense: In 2014, the same project might come backed by grant money or an artist’s statement. Historians love noting how the sessions were designed for radio, allowing the band to stretch out past the 78 RPM record’s three-minute run time, though the most they ever make of the freedom is about four minutes — this is pop music, after all. Fifty songs discovered on a shelf in a vault at Warner Music, Riding Your Way presents another, equally essential companion to the first nine volumes. By Mike Powell

4 Stars:

John Coltrane, Offering: Live at Temple University
This full recording of the long-bootlegged set is a jazz grail: no tunes, just a sonic storming of the heavens. By Colin Fleming
Read our full review.

Kenny Dope, The Wild Style Breakbeats
There are few rap documents more important than the 1983 film Wild Style, the most vivid documentation of early hip-hop culture ever produced. However, the breakbeats that Grand Wizard Theodore cut, Busy Bee rapped over and the Rock Steady Crew breakdanced to had never seen official release in America. Masterfully and seamlessly extended by DJ Kenny Dope from the master tapes, and pressed to seven individual audiophile-ready 45s, it’s by far the best way to appreciate the five funky compositions (and their eight mostly unheard siblings) that helped make history. By Christopher R. Weingarten
Read our full story.

George Harrison, The Apple Years 1968-75
Argument starter: Who was the most musically adventurous Beatle? (Hint: not Ringo.) The first three albums in this refreshingly remastered six-disc set make a strong case for the quiet one. George Harrison tapped into the Indian classical tradition on 1968’s Wonderwall Music, a delightfully eclectic soundtrack album that launched the band’s new Apple label with the first solo album by a Beatle, then followed it up with the white-noise-y Moog machine music of the following year’s free-form Electronic Sound. All Things Must Pass remains a stone masterpiece of heady pop spiritualism (Harrison is rock’s Nusrat Fateh Ali Khan) and thick, rich Phil Spector production. However, despite their many inspired moments, however, mid-Seventies works like Living in the Material World, Dark Horse and especially the depressive Extra Texture (Read All About It) chart a slide into weepy-guitar self-parody. By Richard Gehr

The Seeds, Singles A’s & B’s, 1965 – 1970
Between the spring of 1965 and early 1968, the Seeds were the most prolific one-hit wonders in American garage-rock, stretching the pummeling minimalism of their signature mantra — “Pushin’ Too Hard,” cut in September of ’65, a Top 40 single in February, 1967 — across three uneven studio albums and a cool not-quite-live LP (actually cut in performance, then lathered in fake applause). But the Los Angeles quartet excelled at 45 RPM, shaving its simple gifts — guitarist Jan Savage’s terse, rusty-fuzz riffing, Daryl Hooper’s acid-circus organ and leader Sky Saxon’s irritated bray — into the concise, hypnotic fury of “Out of the Question” (1965), “No Escape” (’67) and “Satisfy You” (’68). This first, comprehensive collection of the Seeds’ seven-inch might goes long, following the increasingly loopy Saxon as he lost the great, original lineup and recorded odd, harder rock like 1969’s “Wild Blood,” which sounds like it could have shoved its way onto Iggy Pop’s Kill City. But the mid-Sixties Seeds were best when they stuck to their crisp, basic script. This set ends with the original, unedited take of “Pushin’ Too Hard” with an extra verse; after the rest of this killer pith, it almost feels like excess. By David Fricke

Smashing Pumpkins, Adore
In the late winter of 1998, I attended a recording session for the Smashing Pumpkins’ fourth album, Adore, issued that May. Co-produced with Rick Rubin, the song, “Let Me Give the World to You,” was a blast of hopeful, propulsive jangle, a hit-single-in-waiting and, ultimately, an orphan, left out of the final running order. Singer-guitarist Billy Corgan had darker matters to attend to — the recent death of his mother Martha and, with the firing of drummer Jimmy Chamberlin, the advancing collapse of his band’s original lineup. The Pumpkins’ besieged, autocratic leader responded by letting his lifelong Cure fixation loose in a hermetic suite of pining and desperate promises, wrapped in gauzy strumming and gray-ice electronics. Coming after the multi-platinum, saturation-bombing art-rock of 1995’s Mellon Collie and the Infinite Sadness, Adore was a critical and commercial hard landing, mistaken for unremitting defensiveness and brooding. The extreme forensics of this six-CD-with-DVD reissue actually show a secret classic — bleak, ambitious and quixotically moving — busy being born in demos, experimental arrangements and elegantly seething live-radio performances. The price of Corgan’s determination is evident in the discarded quality brought back to the fold: the plaintive folk-rock of “Do You Close Your Eyes?”; the ruined-church drone of “Blissed and Gone”; “Cross,” soaked in wah-wah sobs of guitar. “Let Me Give to the World to You,” later re-recorded for a best-of set, is finally issued in its original, hard-glow form, still sounding like the wrong glamour for this album — and the hit single that might have saved it. By David Fricke

3.5 Stars:

The Jayhawks, Rainy Day Music
On 2003’s Rainy Day Music, part of a reissue series with 1997’s dour Sound of Lies and 2000’s poppy Smile, the Jayhawks returned to their early, easeful prettiness, imagining a better yesterday where CSNY got along and Gram Parsons lived to spend the Seventies filling America’s station wagons with AM gold. By Rob Sheffield
Read our full review.

Jon McCallum, Surf Nazis Must Die (Original 1987 Soundtrack)
Vinyl reissues of Eighties exploitation flick soundtracks are splattering all over — this year alone saw reissues of Chopping Mall, Creepshow, The Slumber Party Massacre, Forbidden World, Street Trash and The Class of Nuke ‘Em High. But the long-awaited release of Surf Nazis Must Die, the inaugural release for Rochester’s Strange Disc and the first time it’s been commercial available, is the best of the batch. The soundtrack to the 1987 goof has a lo-fi, homemade feel towards Eighties shock schlock that contemporary bands have been trying to mine for years — lush blossoms of vintage synths and drum machines throbbing with the tense rhythms of action flicks. By Christopher R. Weingarten

Various Artists, Country Funk II 1967-1974
Dolly Parton sings “Gettin’ Happy” with a gospel choir, pedal steel and an amped-up, sample-ready drum beat; Kenny Rogers gets all funky outlaw on “Tulsa Turnaround” (“Oooh, Lord, I wish I had never been stoned. . . .”). Even Willie Nelson (“Shotgun Willie”) gets his greased groove on, alongside Townes Van Zandt (“Hunger Child Blues”) and Jim Ford (“Rising Sign”). By Will Hermes
Read our full review.

Various Artists, C86: Deluxe 3CD Edition
In 1986, the British magazine NME released a 22-song tape charting the post-post-punk diaspora we now call “indie rock,” from the jangly and sweet (the Pastels, Primal Scream) to the lopsided and weird (Big Flame, Stump). Capitalizing, maybe, on collective nostalgia, Cherry Red has expanded the album into a nearly four-hour-long box set, drawing a circle so wide that the compilation now feels less like an argument about music than an anthropological survey — the attempted full account of the English underground circa the late 1980s. In the end, the reissue’s depth is more impressive to behold than listen to, but the time is right: the shimmery, amateurish sound of labels like Captured Tracks are evidence that whatever lessons C86 offered to its first fans are still relevant. By Mike Powell

July 2nd, 2014:

5 Stars:

Elton John, Goodbye Yellow Brick Road: 40th Anniversary Box Set
At times, Elton John’s diverse but filler-free 1973 double album’s vivid Technicolor tunes – from the mournful prog-rock of opener “Funeral for a Friend” to the sunny, symphonic pop finale “Harmony” – suggest what the Beatles might have created had they stuck together a few more years. This welcome five-CD-plus-DVD expansion adds several non-LP singles; a new, nine-cut tribute set featuring contemporary fans from Miguel to Fall Out Boy; a vintage documentary about the album’s creation; and, best of all, an explosive London concert that demonstrates how hard John and his kickass band could rock between eloquent ballads like “Your Song. By Will Hermes
Read our full review.

Led Zeppelin, Led Zeppelin III (Deluxe Edition)
It’s easy to forget at this distance that Led Zeppelin’s first three albums, the foundation of their titanic legacy, were the most divisive hit records of their day. III shook fans and enemies alike with its dedicated swerve into acoustic textures and restraint. The music is now beyond reproach. III was a masterful union of ballads and bruising, and a giant step in the songwriting ascent toward, later, “No Quarter” and “Kashmir.” A bonus disc adds nine tracks that help expose that maturation. “Jennings Farm Blues,” an electric run at the folk gallop “Bron-Y-Aur Stomp,” shows Zeppelin exploring options, and the medley “Keys to the Highway/Trouble in Mind,” by Page and Plant, feels like a deep-blues breath before the next rush forward. By David Fricke
Read our full review.

4.5 Stars:

Crosby, Stills, Nash and Young, CSNY 1974
Forty summers ago, North America’s greatest dysfunctional supergroup patched things up for a while, filled stadiums and left behind tales of backstage excess and shaky vocal harmonies. The first-ever set of recordings from those shows is fittingly over-the-top – three discs and one DVD with footage of eight songs. The two electric-set discs have a crackling, wired-on-something energy: Check how Stephen Stills and Neil Young trade unhinged solos on Young’s “Revolution Blues.” The often exquisite acoustic disc finds all four lending harmonies to solo songs like Stills’ “Change Partners” and reveling in a compatibility that often escaped them offstage. By David Browne

John Coltrane, Offering: Live at Temple University Resonance
This official, cleaned-up release of Trane’s frequently bootlegged November 11, 1966 show is 90 minutes that pushes free-jazz expression to its furthest: There are points where the sax swami drops his instrument and simply begins hollering, mirroring his horn phrases, pounding on his chest to modulate the tones. The band includes Pharaoh Sanders, playing 2nd tenor and piccolo with butane-torch intensity; wife Alice Coltrane on piano; bassist Sonny Johnson; Jimmy Garrison on bass; Trane’s latter-day musical soulmate Rashied Ali on drums; and a handful of guests, some invited, some not. By Will Hermes

Miles Davis, Miles at the Fillmore – Miles Davis 1970: The Bootleg Series Vol. 3
In June 1970, with the Joshua Light Show melting colors behind them, Miles Davis’s septet played four sets in as many nights at New York’s Fillmore East. Originally edited down by producer Teo Macero to 20-minute medleys (released as the Miles Davis at Fillmore double album in August), these thrilling spelunking sessions into the heart of electric Miles are heard here in their crisp eight-track entirety. A masterful editor tasked with tough choices, Macero naturally emphasized the trumpeter’s titanium-terse phrases and leaping epiphanies at the expense of Steve Grossman’s Coltrane-inspired saxophones or the gnarled electronic interplay of keyboardists Chick Corea and Keith Jarrett. Listening intently to one another, the septet bridge the gap between Davis’s earlier acoustic quintet and the big electric group that recorded his 1970 masterpiece Bitches Brew. By Richard Gehr

Oasis, Definitely Maybe
Twenty years on, Oasis‘ debut remains one of the most gloriously loutish odes to cigarettes, alcohol and dumb guitar solos that the British Isles have ever coughed up. This deluxe three-disc reissue includes unreleased demos and live treasures, along with essential 1994 singles and B sides like “Fade Away” and “Listen Up,” where Oasis first hinted at the dreamy depths behind all the lager-swilling bravado. By Rob Sheffield
Read our full review.

4 Stars:

Michael Bloomfield, From His Head to His Heart
“Hotshit player” doesn’t begin to describe the underappreciated blues-rock guitar hero Mike Bloomfield, as this beautiful four-disc set makes clear. The 1964 demos here show a twentysomething fluent in urban and rural blues, country and jazz, with a sweet, breakneck attack. Tracks with the Paul Butterfield Blues Band circa 1965-’66 (like the fierce 13-minute “East/West”) show off style that nearly every hippie-era slinger would mirror; later jams with the Electric Flag and the Super Session band pushed into R&B and jazz territory. Three months after Dylan – who called him “the greatest guitarist I ever heard” – invited him to guest at a 1980 show, he was dead of an overdose. By Will Hermes
Read our full review.

Mike Cooper, Trout Steel
Mike Cooper’s little-known 1970 masterpiece was of its time: the sound of a folk-rooted prodigy navigating the rapids of psychedelia with a handsome voice somewhere between Phil Ochs and Tim Hardin. But what puts his music in a league of its own (and likely doomed him to commercial failure) is his taste for free-jazz-style instrumental play, with his own slithery slide guitar darting through abstract arrays of horns, strings, piano and percussion. Here, his singer-songwriter and experimental sides form a gnarly yin-yang marriage that you figure won’t last, but burns bright. By Will Hermes 

 Nils Lofgren, Face the Music
There are “musician’s musicians,” and there’s Nils Lofgren, whom Neil Young drafted at 18 to play piano on After the Gold Rush, and who’s been the E Street Band’s hottest guitarist since the mid-1980s. This 10-disc anthology reprises an unsung singer-songwriter career, beginning with his Seventies band Grin (the sweet Cali-style soul of “Like Rain”) through sharp, solo semihits (“Back It Up,” “I Came to Dance”) and beyond. By Will Hermes

Morrissey, Your Arsenal
Produced by former David Bowie guitarist Mick Ronson, with fits of glam flamboyance and a raw rockabilly bluntness, Moz’s third solo LP made clear what Smiths fans already knew: Here was a new kind of superstar. For more proof, check this remastered reissue’s must-see bonus DVD, filmed at a raucous 1991 show where the singer gets repeatedly rushed by lovesick fans, capturing the American peak of Morrisseymania like nothing else. By Barry Walters
Read our full review.

Nas, Illmatic XX
The 1994 rap classic by which all rap classics get judged, now with a second disc featuring all the remixes from the 12-inch/cassingle B sides. Nothing exactly essential is appended, save the unearthed, unreleased “I’m a Villain” which could have been an excellent track 11, with its knotty rhymes about being stressed on street life. By Christopher R. Weingarten

Professor Longhair, The Last Mardi Gras
This two-night 1978 set is an excellent entree to an artist whose live dates were often more vital than his studio ones. The storied New Orleans pianist leads his band through 18 songs that codify blues, jazz, boogie-woogie and rock & roll into a language familiar and yet quintessentially regional. 
Read our full review.

R.E.M., Unplugged: The Complete 1991 and 2001 Sessions
No band but Nirvana made more breathtakingly transformative use of MTV Unplugged than R.E.M., the only act to headline the show twice. This set of 33 songs, 11 of which never aired, revisits both sessions, boiling their magical greatness down to two base elements: achingly sugared melodies and Michael Stipe’s potent voice, in all its deep grain, swooning vibrato and radiant empathy. By Will Hermes
Read our full review.

Slint, Spiderland
The year punk broke, 1991, was also the year Slint broke punk. Where Kurt Cobain screamed angsty poetry collage over speaker-ripping riffs, this Louisville group’s frontman, Brian McMahan, told intricate parables about loneliness over downtempo jazz-rock and the occasional post-post-punk crusher. The album’s original six tracks all sound crisp and clear, but the group went the extra mile and dug up outtakes, demos, rehearsal-tape riffs and even a reverent live cover of Neil Young’s “Cortez the Killer.” As close to an inside look at the making of one of alternative’s most quizzical records as Slint are willing to let listeners go. By Kory Grow

Small Faces, Here Come the Nice
There wasn’t a more playfully revolutionary delight in British pop between 1967 and 1969 than a Small Faces 45. Originally a pure-mod squad, the Small Faces rapidly bloomed into something brighter and deeper – an R&B-ravers spin on the Beatles’ studio exploration and the Beach Boys’ California grandeur – in the punchy mono singles filling the first disc in this lavish four-CD box. The session outtakes across much of the set show how they built that perfection, while five late-’68 live tracks show the blues power at the base of it all. By David Fricke
Read our full review.

Soundgarden, Superunknown Deluxe Edition
The defining moment from an unclassifiable band remains brilliantly off-kilter as metal, crushingly moody as alternative and strangely reassuring as classic rock. A disc of demos and rehearsals let you hear Chris Cornell’s powerful voice go occasionally out of tune – a Nineties benchmark even if the extras aren’t particularly illuminating. By Christopher R. Weingarten
Read our full review.

Uncle Tupelo, No Depression: Legacy Edition
Pitched as “Hüsker Dü meets Woody Guthrie,” Uncle Tupelo‘s 1990 debut made the countrypunk notions of the Mekons, the Meat Puppets and others into a raison d’être, furthering a major movement. This expanded reissue adds Not Forever, Just for Now, the 1989 demo tape that got them signed. Its 10 songs, recorded in an attic in Champaign, Illinois, were beefed up for the album, but Not Forever shows a vision startlingly complete, and its scrappiness occasionally serves the songs better. By Will Hermes
Read our full review.

Various Artists, Hardcore Traxx: Dance Mania Records 1986-1997
The towel-snapping snares, ribcage-ravaging bass, and relentlessly, cartoonishly hiccupping arcade effects of Chicago’s Dance Mania is deliriously and hilariously less is more; it’s lovely and obscene; it’s rhythmically innovative yet intentionally moronic; it’s sweatily sexy and drily synthetic; it makes a glistening bauble out of garbage parts; it features a suave gentlemen intoning, “Feel the motherfuckin’ bass in my face,” and a sensual woman exclaiming, “You got me sweatin’, motherfucker.” The producers who made record-store owner Ray Barney’s label a legend – Marshall Jefferson, Farley Keith Williams, Lil Louis, Deeon Boyd, Robert Armani, DJ Funk, and countless others, were fearless in catering to the dance floor while simultaneously blowing it to bits. By Charles Aaron

 Various Artists, Lou Adler: A Musical History
Adler was the quintessential L.A. music biz polymath, a songwriter (with pal Herb Alpert) in the late Fifties who evolved into a producer (most famously, of Carole King’s game-changing Tapestry), label chief (Dunhill, Ode), film director (Ladies and Gentlemen, The Fabulous Stains) and club owner (the Roxy). Part of an excellent compilation series from the U.K. Ace label devoted to producers and songwriters, this features Adler’s finest moments in both chairs. Sam Cooke’s “Wonderful World” (co-written by Adler with the late soul icon) is followed by the Mamas & the Papas “California Dreaming” (which he produced). King’s signature “It’s Too Late” shadows crate-digger gems like “Gimme Shelter” by Merry Clayton (who sang backing on the Stones’ original; see 20 Feet From Stardom) and “Wear Your Love Like Heaven,” a Donovan cover by Mod Squad actress Peggy Lipton. By Will Hermes

Various Artists, PUNK 45: Sick On You! One Way Spit! After The Love & Before The Revolution Vol.3: Proto-Punk 1969-77
The 2012 documentary about Detroit’s circa-’74 bruisers Death entranced even non-record geeks with the idea that you could accidentally invent punk rock, even if you were 600 miles away from CBGB’s. This comp – of which Death is dutifully included – tells similar stories from further reaches of Chichasha, Oklahoma and Montpelier, France (and, of course, hitting all the proto-punk hotbeds like art-rocking Cleveland, pub-rocking London and glam-rocking NYC). Starting in 1969 (it should be noted, right after Nuggets ended) this gaggle of sonic reducers includes original drafts for the Clash’s Joe Strummer and the New York Dolls’ Arthur Kane and loads of blown-out, abrasive stuff that predates punk’s attitude, if not sound – see the Hammersmith Gorillas turning a Kinks song into a glass-gargling tantrum or the Hollywood Brats writing a song about puking on an ex-lover. By Christopher R. Weingarten

Various Artists, Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds, 1960-1978
This exquisite two-CD compilation produced by Hugo Mendez captures Haiti’s criminally overlooked merengue and compas direct sounds at the height of their sophisticated and naturally danceable complexity. Amid poverty and oppression, and years ahead of the international curve, “mini jazz” groups like Les Ambassadeurs, Les Vikings and Les Loup Noirs were blending hurry-up-and-slow-down Afro-Caribbean rhythms with jazzy horns, psychedelic guitars and idiosyncratic personal touches. While also touching on rara parade music and folkloric twoubadou singing, Haiti Direct revels primarily in several-minute variations on compas direct, the syncretic Haitian anticipation of slinky West African funk and Latin American cumbia. By Richard Gehr

Lucinda Williams, Lucinda Williams
Finally back in print, every song on Lucinda Williams‘ 1988 LP burns hot as ever: the indie jangle-twang of “Passionate Kisses” (which won a Country Song of the Year Grammy via Mary Chapin Carpenter’s inferior version), the incandescent sexiness of “Like a Rose,” and “The Night’s Too Long,” which could nearly be an outtake from Bruce Springsteen‘s Nebraska. The live bonus disc features non-LP tracks, a crack band and a riveting singer. By Will Hermes
Read our full review.

3.5 Stars:

The Brothers and Sisters, Dylan’s Gospel
A one-off project helmed by producer and music-biz legend Lou Adler. The dubious idea: Gather L.A.’s finest background singers into a makeshift Baptist-style gospel-soul choir to cover classic Dylan songs. The result: a largely ignored but delicious 1969 LP. By Will Hermes
Read our full review.

Johnny Cash, Out Among the Stars
In Cash: The Autobiography, Johnny Cash admitted that as his sales fell off in the Eighties, he became apathetic. He’d relapsed into some destructive habits, too. Recalling his sessions with producer Billy Sherrill, Cash wrote, “We tried, sort of, but we certainly didn’t give it our best.” You might expect Out Among the Stars – a set of unreleased songs he cut with Sherrill in 1981 and 1984 – to be a contract-fulfilling sleepwalk. (Cash put out several mostly mediocre LPs in those years, but left this material unfinished; it was discovered after his death.) Instead, it proves that even at his most uninterested, Cash couldn’t help but make a record with weight, moral complexity and grim humor. By Rob Tannenbaum
Read our full review.

Jack Ruby, Hit and Run
This two-disc set gives an essential art-skronk band from mid-1970s New York its due, down to an oral history in the liner notes. Could there be a modern cult object more perfect than a comprehensive reissue from a band that broke up before releasing a full album? By Ned Raggett
Read our full review.

Craig Leon, Anthology of Interplanetary Folk Music Vol. 1: Nommos/Visiting
Folklore and futurism intersect in these synthesizer compositions by punk producer Craig Leon (Suicide, Blondie, the Ramones) – a unique collision of ambient, synth-punk, and new age. Originally released on guitarist John Fahey’s Takoma label in 1980, Nommos imagines the pulsing, buzzing, and clattering music that aliens from the Sirius star system might have left behind with the Dogon people of northern Mali, whose ancient art represents meetings with remarkable man-things. Two years later, on Visiting, Leon revisited his earlier album in track-by-track responses that paint a more serene and reflective picture of this ancient encounter. Here Leon’s music is newly collected with one important difference: Having lost his Nommos masters, Leon re-created the album, with longer tracks, using the same equipment and following his detailed studio notes. By Richard Gehr

Bob Mould, Workbook 25
This 25th-anniversary reissue of the 1989 solo debut from Hüsker Dü’s Bob Mould features an accelerated and raging live rendering of the album that adds a few Hüsker classics – acoustic and disarmingly tender. By Barry Walters
Read our full review.

Various Artists, Calypso: Musical Poetry In The Caribbean 1955-69
Decades before hip-hop became black America’s most visible news source, Caribbean and British calypso stars were singing about current events in lilting tunes so seemingly carefree you barely noticed how sharply they were sticking it to the man. With chatty and conversational voices front and center, carnival stars like Viper, Lord Hummingbird and Lord Flea delivered their sass amid suave, jaunty horns and percolating Afro-Caribbean percussion. This collection focuses more on pop culture than on politics: Lord Cobra’s enthusiastic account of the 1969 moon landing, for example, is followed by Young Growler’s bawdy celebration of James Bond consort “Pussy Galore.” Calypso’s predominant voice, Lord Kitchener, is represented by the hilarious “Love in the Cemetery,” wherein a resident warns him, “Mister, you be brave / To be bringin’ your girlfriend atop me grave.” By Richard Gehr

Hank Williams, The Garden Spot Programs, 1950
The way Hank Williams digs his wail into the word “care,” causing it to dip precipitously, well, that’s enough right there to justify this reissue of collected 1950 radio transcriptions, a.k.a., sponsored, taped “live” performance sent to radio stations. Not as essential as 2012’s The Lost Concerts Limited Collector’s Edition, these recordings still help to sketch a more palpable depiction of “The Ol’ Lovesick Drifting Cowboy himself” (as the announcer puts it here). Soberly full-voiced and steadily nuanced as he runs through alternate versions of “Lovesick Blues,” Williams coaxes you over to his mournfully steely worldview on “Mind Your Own Business” and “Wedding Bells Will Never Ring for Me” like a savvy pro. The pedal steel sparkles warmly, the fiddle sprints, the frontman hawks the product (“You can find this one on wax, if you care to”) and there’s a near three-minute ad for the sponsor a Waxahatchie, Texas mail-order plant nursery. You can practically smell the hydrangeas and heartache. By Charles Aaron


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