The follow-up to 2017's loose and versatile Gathering, Fever Breaks sees the lauded Idaho-bred singer/songwriter teaming up with producer and Americana wunderkind Jason Isbell and delivering a taut ten-track set backed by Isbell and his formidable 400 Unit. Less prone to stylistic detours than previous outings, Fever Breaks is a straight-up band album, with Ritter and company administering some serious muscle on cuts like "Old Black Magic" and "Losing Battles," the latter of which gives off a distinct Crazy Horse vibe. Dylanesque opener "Ground Don't Want Me" takes a similar approach, but retains a modicum of heartland folksiness, bringing it more in line with Ritter's earlier works.

This mammoth three-disc U.K. compilation features 50 tracks from "classic rock" staples Creedence Clearwater Revival, including "Long as I Can See the Light," "Have You Ever Seen the Rain," "I Heard It Through the Grapevine," "Lodi," "Lookin' out My Back Door," and "Proud Mary." Listeners would be hard-pressed to find anything resembling a glaring omission here, as the compilers have done a fine job including every high point from the band's short but incredibly bountiful run, making this an excellent choice for the Creedence newbie.

Charles Wayne Sexton is an American guitarist, singer, and songwriter. Sexton is best known for the 1985 solo hit "Beat's So Lonely" and for his work with the band Arc Angels. Charlie Sexton, released in 1989, is the second studio album released by singer/guitarist Charlie Sexton. An about-face, with more emphasis on Sexton's guitar playing and Texas roots. Although a youngster compared to most of his Austin friends, guitarist, singer, and songwriter Charlie Sexton has already had several phases to his career. Sexton, raised in Austin, TX, made his debut with Pictures for Pleasure in 1985 at age 16. He followed that up with a self-titled second album when he was 20. Because word of his reputation as a prodigy guitar player spread far and wide, he found himself an in-demand session player while still in his late teens, and he had the opportunity to record with Ron Wood, Keith Richards, and Bob Dylan.

McClinton's first outing for the independent Austin label New West, Nothing Personal features more of the Texan harp player's loose blend of rock, blues, and honky tonk. He penned all the cuts here, sometimes in tandem with producer Gary Nicholson and Benmont Tench of Tom Petty and the Heartbreakers fame (Tench also sits in on keyboards for a few cuts). The lyrical concerns take in the usual stories of love and its travails, which McClinton consistently phrases in his own rough-hewn yet sweet way.

If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month.

There never was a supergroup more super than the Traveling Wilburys. They had Jeff Lynne, the leader of ELO; they had Roy Orbison, the best pop singer of the '60s; they had Tom Petty, the best roots rocker this side of Bruce Springsteen; they had a Beatle and Bob Dylan, for crying out loud! It's impossible to picture a supergroup with a stronger pedigree than that (all that's missing is a Rolling Stone), but in another sense it's hard to call the Wilburys a true supergroup, since they arrived nearly two decades after the all-star craze of the '70s peaked, and they never had the self-important air of nearly all the other supergroups.

From 1981, this was J.J. Cale's sixth album (following the succinctly titled NUMBER 5, and returning to his tradition of single-word album titles). Though Cale didn't use one constant band throughout the album, it's got a remarkably unified feeling. This is in part due to the great musicians on hand (pianist Bill Payne, drummers Jim Keltner and Russ Kunkel, and guitarist James Burton among others), but primarily to Cale himself. His songs and his overal approach to music are all-encompassing; the seductive and laid-back grooves his rhythm sections empower are written into the very fabric of the songs. "Carry On," "Pack My Jack"–these are songs of simple, sturdy strengths, succinctly written and concisely rendered. There are never any stray notes or decorative filigrees. Friendly and inviting, SHADES sounds good in any season and at any time of day (and may be some of the best hangover cure music around).

This long sought-after release celebrates the 50th anniversary of Woodstock, by giving fans a front-row seat to relive CCR’s stirring, hour-long set as it was performed that historic night in August of 1969. Kicking off with “Born on the Bayou,” the album features the band’s biggest singles of the day, plus selections off their first three LPs, including “Commotion,” “Ninety-Nine and a Half (Won’t Do)” and “Bootleg.” Full of creative energy, John, Tom, Stu, and Doug delve deep into their music, playing extended improvisations of “I Put a Spell on You,” “Keep on Chooglin’” and “Suzie Q.”

First new album in 11 years, Resurrection marks a return to form for the GRAMMY-winning, multi-platinum trio of Texican brothers, who have performed everywhere from the GRAMMYs telecast to the World Series to recent tours with The Who. Lead single “Wish You Would” conjures the group’s classic sound, combining breezy guitar leads with hard-earned doses of wisdom.

Although it kicks off with the first (and only) song John Hammond has ever written, Ready for Love is a worthy and unusually varied follow-up to the surprise success of 2001's Wicked Grin. It would have been easy and possibly expected for Hammond to churn out another album of Tom Waits songs to capitalize on the unanticipated momentum created by Wicked Grin. After all, at age 60, considering he's been chipping away at his craft for the past 40 years, Hammond has certainly earned the right to coast on some better-late-than-never success. And the Waits catalog is bursting with plenty more gems perfect for the singer/guitarist to wrap his throaty, emotional blues voice around.

Chris Isaak's debut album, Silvertone, named after his three-piece backup group, sets the pattern for his subsequent albums in its meticulously constructed retro sound. Isaak enters a time machine and emerges around 1960, when Roy Orbison is ruling the charts with his melodramatic ballads and Elvis Presley has just returned from the Army. Of course, what passed for a style 25 years before is in Isaak's hands stylization, and when he wails in an Orbison falsetto of romantic desperation, then does a flat, Presley-like recitation in the album-closing "Western Stars," it all seems over the top. But he is just about sincere enough to pull it off, and James Calvin Wilsey is a strong enough guitarist to keep the arrangements on track. So, to the extent that you can resist the "Is this guy kidding?" impression, the music is appealing.