Guitar heroes regaled and bowed to the altar that is Eric Clapton on his “Crossroads 2019” (Rhino), a virtual who’s who of rock and blues legends, some newbie shredders who held their own and of course, Clapton himself. The Crossroads Guitar festival is a fundraiser to benefit Clapton’s rehab facility on the Caribbean island of Antigua. Since recovering from his own addiction many years ago, Clapton has been supportive of other recovery programs. This three-disc set gathers an elite array of rockers for this latest installment of the “Crossroads” series. The music is a winning mix of solo and band acoustic (Keb’ Mo’, John Mayer), with full-blown electric bands such as the expansive Tedeschi Trucks ensemble. Clapton dusts off a few chestnuts (“Wonderful Tonight,” “Lay Down Sally”), while some of the highlights are inspired but unintentional Bob Dylan covers: Sheryl Crow and Bonnie Raitt rattle the tachometer on “Everything Is Broken,” while Doyle Bramhall II with the Tedeschi Trucks band tackle

“Going, Going, Gone.” Fans will be pleased that guitarfest luminaries such as Robert Cray, Buddy Guy and Jeff Beck are along for the trip. The two-night event culminates with two encore finales by Clapton and company: “Purple Rain,” a stalwart standout in Clapton’s repertoire, and a 12-minute “High Time We Went.” With enough potent music to soothe even the savage six-string player, “Crossroads” delivers the goods.

•••

Smashing Pumpkins have gone and made a pop record. “Cyr” (Sumerian Records) is about as jangly as frontman Billy Corgan has ever been. Now in his third decade with different incarnations of the band, Corgan has said that he wanted to make a contemporary record and “Cyr” is just that. Known for hits like “Today” and remake of Fleetwood Mac’s “Landslide,” Smashing Pumpkins’ Corgan’s creative juices have been in high gear since the band’s 2018 Rick Rubin-produced “Shiny and Oh So Bright.” Corgan has mapped out two albums, including a sequel to the landmark 1995 double LP, “Mellon Collie and the Infinite Sadness.” Corgan’s infatuation for the Chicago indie label Wax Records – big in the 80s and 90s – makes “Cyr” the Pumpkins most attainable record yet. The opener, “The Colour of Love” is practically devoid of the Pumpkins signature guitar hooks and instead is ripe with swathes of synthesizer and pop euphoria. Most of the tracks on “Cyr” sound familiar, which is probably why this record works. It’s comfortable, unlike some of the sneering attitude that ripped through Smashing Pumpkin’s early catalogue. “Birch Grove” and “The Hidden Sun” are pure pop anthems and considering that Corgan set out to prove a point, “Cyr” checks off every winning box.

•••

Jack and Meg White of the White Stripes are a conundrum to most followers. Were they married or just brother and sister? While that question is often up for debate, the Carpenters, they are not. With “White Stripes Greatest Hits” (Third Man Records/Columbia), in the age of instant-on-demand music, greatest hits seems like a waste. But White’s Third Man Records has culled 26 of the now-defunct band’s most beloved songs. One of the cool things about the new CD is that it’s not in chronological order, which provides a peppering of band stylings rather than a history lesson. Plus, most of the songs were never released as singles so if feels like a new record-meets time capsule. Fans will find staples like “Seven Nation Army,” but there are no new revelations – no live cuts, no outtakes – just tracks.

Jack White’s quirkiness is rampant, especially on covers like Dolly Parton’s “Jolene” and the Burt Bacharach/Hal David pop classic “I Just Don’t Know What To Do With Myself.” “Apple Blossom” is a standout; elsewhere you’ll simply find a rowdy gathering of rock, roll and everything in between. The duo White has a reputation for being a DIY fusion of rock, country, blues, guitar-heavy rock and lean punk. They even zigged and zagged at the same time: Jack and Meg were married but postured as siblings. Any White Stripes fans know the band is all about minimalism. There’s little fuss to their low-fidelity aesthetic, from “Ball and Biscuit,” to “Fell In Love With A Girl.” This is a fuzzy bass and drum duo. No flourishes. Just perfect present fodder for either your Zeppelin-loving dad, your old college roommate or your teenage niece, who to your absolute horror, has begun collecting CD’s as a retro “phase.” Merry Christmas.