Lonestar celebrated their 30th anniversary as a band in 2022, and this year, they're looking back on their record-breaking career with a new album full of reimagined hits. The new project, Ten to 1, will feature re-recordings of their 10 No. 1 hits. It will be released on June 2.

The album is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. A tangle of sonic textures, Beauty is a rumination on aging, losing parents, facing mortality and creating space for one's life in the midst of the ruin that comes from merely living. 'Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition', Margo Timmins explains of the band's singular focus, 'nor has he shied from its beauty. Thankfully, with one comes the other'.

Kristoffer "Kris" Kristofferson is an American country music singer, songwriter, musician, and film actor. He is known for such hits as "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night". Kristofferson is the sole writer of most of his songs, and he has collaborated with various other figures of the Nashville scene such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup "The Highwaymen". In 2004, Kristofferson was inducted into the Country Music Hall of Fame. Collection includes: Kristofferson (1970); Me & Bobby McGee (1971); The Silver Tongued Devil And I (1971); Border Lord (1972); Jesus Was A Capricorn (1972); Breakaway (1974) with Rita Coolidge; A Star Is Born (1976) with Barbra Streisand; Natural Act (1978) with Rita Coolidge; A Moment of Forever (1995); The Austin Sessions (1999); The Essential Kris Kristofferson (2004) 2CD; This Old Road (2006); Closer To The Bone (2009); Please Don't Tell Me How The Story Ends: The Publishing Demos 1968-72 (2010); Feeling Mortal (2012).

As the historic festival marks its 40-year anniversary, Rhino presents Woodstock 40, six-CD boxed set that features the most comprehensive collection ever available of artists that performed at the original festival, sequenced in chronological order of performance, featuring 38 previously unreleased recordings, including the Grateful Dead, The Who, Tim Hardin, Jefferson Airplane, Country Joe & The Fish, and others. Also box includes 80-page book with extensive liner notes, photos and the complete and accurate set lists.

With 1970's Workingman's Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends Crosby, Stills, Nash & Young, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman's Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel.

Workingman’s Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman’s Dead attains audiophile reference status courtesy of this first-ever hybrid SACD version. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures. The first Grateful Dead album to eschew cosmic jams and complex signatures, Workingman’s Dead stakes its existence to great songs, homespun warmth, and bare essentials.

With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer – not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt – more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind.

Combining the natural excitement and added vibrancy that a live performance provides, while recording in a studio environment with better acoustics, proves the best of both worlds for a recorded concert. The small invited audience to this label showcase consisted mostly of family, friends, and music company executives from the Columbia/Epic imprints, giving the proceedings a homey, more comfortable vibe. Poco's live album of predominantly new material, Deliverin', which came out earlier in the year, was a big seller and the band had just released the studio follow-up, From the Inside, which introduced Paul Cotton into the outfit, replacing Jim Messina. This was Cotton's first tour with the existing members, and although his contributions on electric guitar and soon-to-be primary songwriter are still on low boil, it's clear that Poco is headed in a more commercially rock-oriented direction.

Chronicle, Vol. 1 contains every one of Creedence Clearwater Revival's original 19 hit singles – including "Proud Mary," "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Up Around the Band," and "Have You Ever Seen the Rain" – plus "I Heard It Through the Grapevine," which became a hit at the same time this double-record compilation was released. The compact disc edition is hampered by the inclusion of the full-length, 11-minute album version of "I Heard It Through the Grapevine"; its presence slows down the momentum of the collection considerably. Chronicle, Vol. 2 effectively compiles all of the highlights from Creedence Clearwater Revival's career that weren't on the first volume. All of the singles were included on Chronicle, Vol. 1, so Chronicle, Vol. 2 is comprised solely of album tracks.

Since their formation in 1994, Toronto's Sadies have developed, even perfected,a style of music that is uniquely their own. Possessing a deep fondness and reverence for the best of country, bluegrass and blues (CBGB!), they are equally informed and influenced by everything from 60s garage and psychedelic rock (Pebbles, Nuggets, et al) to surf instrumentals and punk rock. The quartet's newest album, Colder Streams, is their best album yet. Produced by Arcade Fire's Richard Reed Parry, the 11-song platter exhibits again why The Sadies are in a league of their own

John Fogerty pulled himself out of the game sometime after his 1976 album Hoodoo failed to materialize and he sat on the bench for a full decade, returning in the thick of the Reagan era with Centerfield in 1985. For as knowingly nostalgic as Centerfield is, deliberately mining from Fogerty’s childhood memories and consciously referencing his older tunes, the album is steeped in the mid-‘80s, propelled too often by electronic drums – the title track has a particularly egregious use of synthesized handclaps – occasionally colored by synths and always relying on the wide-open production that characterized the ‘80s…plus, there’s no denying that this is the work of a middle-aged baby boomer, romanticizing TV, rockabilly, baseball, and rock & roll girls. Since Fogerty always romanticized a past he never lived, these sepia tones suit him but it also helps that he’s written a clutch of terrific songs…

One of the leading singer/songwriters of the 1960s and '70s, Gordon Lightfoot was Canada's most successful contemporary folk artist, establishing himself as an important songwriter in the mid-'60s and going on to become a major international recording star in the following decade. Lightfoot's songs are literate but down to earth, and deal with personal matters as well as global issues in a manner that's poetic yet accessible, and his rich, strong voice is a superb vehicle for his material, though his songs are versatile enough that many artists have enjoyed success with his tunes.

Day of the Doug is a tribute album to Doug Sahm. It features 12 songs that span Sahm’s career as a solo artist as well as his work with Sir Douglas Quintet and Texas Tornados. The Intro and Outro tracks are phone messages that Doug left Jay Farrar over the years. This is a brand new record from Son Volt.

Highway 61 Revisited is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album. The album was ranked No. 4 on Rolling Stone's "500 Greatest Albums of All Time". "Like a Rolling Stone" was a top-10 hit in several countries, and was listed at No. 1 on Rolling Stone's 500 Greatest Songs of All Time list.

Recorded in the UK in late 1971, First Album was a fine addition to the small but burgeoning British country rock scene that encompassed the likes of Matthews Southern Comfort, Quiver, Help Yourself, and Brinsley Schwarz. Roger's band on this album features some of the finest musicians of the era, including Glenn Campbell, fresh out of Juicy Lucy (and formerly of The Misunderstood), drummer Rod Coombes, sax player Chris Mercer and bassist De Lisle Harper. Harper, who has played with everyone from Gass and Bond & Brown to the Strawbs and Whitesnake also did the atmospheric brass, string and woodwind arrangements. Ex-Family man John Weider was present on fiddle and guitar, whilst drum duties were shared additionally by Kokomo's Terry Stannard and the Greaseband's ever reliable Bruce Rowlands. The late Tommy Eyre handled most of the keyboard chores. This is the first time this album has ever been released on CD. This issue boasts an additional four bonus tracks, which were all recorded a year after the original LP. The accompanying 12 page booklet includes comprehensive liner notes and full lyrics to every track.