An "8" for me. I got the box on sale and I'm pretty happy with it, even though there is a definite lack of worthy additional content compared to the prior three entries in the series -
Big Pink & S/T had 45 RPM vinyl,
Stage Fright had the RAH live set in 5.1, whereas here we get the Atmos remix and a bootleg live recording. Nevertheless, I'm happy to support any physical 5.1 releases from the major labels and it does look great next to the other three on the shelf. Lots of interesting liner note info from Clearmountain and Robertson on the remixes.
I agree with
@marpow that the Atmos mix doesn't really add all that much to the surround presentation - I didn't notice any directional sounds mixed to the height channels like on Air's
10,000 Hz Legend or The Pineapple Thief's
Nothing But The Truth (to be fair, these are much newer recordings with far more separately-tracked elements to spread out), but it does provide a bit more of that in-the-room ambient feel. I find myself preferring the 5.1 mix even though it's quite a bit louder than the 7.1 TrueHD/Atmos, the separation between channels seems a bit more pronounced. Like the other albums in this series, the center speaker is used heavily for drums, bass, and vocals, while the rears generally feature isolated guitar, keys, and horns. There's a particularly fun bit in the song "Smoke Signal" where the guitar solos fly around the room. The horns in the rear speakers throughout "Life Is A Carnival" really pop.
Comparing the original 1971 stereo album to the new Clearmountain remixes (stereo, 5.1 & Atmos) is where it gets really interesting - to my ears, the original has a very dry, almost-dull (or 'warm', depending on who you ask) aesthetic, with barely any low-end 'punch' in the drums or bass. It almost sounds like a rough fader-only mix, with very little processing on the individual elements. The remix is basically the reverse, with tons of added reverb/delay on all the instruments and big extensions on both the low-end and high-end. Some of the new vocal delays are kind of distracting (particularly on Van Morrison's voice in "4% Pantomime") - and the high-end boost on the snare and cymbals does make it a somewhat-fatiguing listen at higher volume - but overall it does sound much more 'exciting' to me than the original. The new a capella ending to "Where Do We Go From Here?" sounds great.