Stay There 'Til I Get There is Lynn Anderson's first album for Columbia Records following a successful stint on the independent Chart label. Since Anderson's crossover smash "Rose Garden" was released several months later, Stay There 'Til I Get There sounds just like one of her Chart albums, down to the banjo picking on the hit title track. The one departure from her earlier records is the poverty of compositions by Anderson's mother, Liz Anderson. Producer Glenn Sutton takes her place to an extent, but Anderson also covers the underrated Sonny James song "True Love's a Blessing" and Bobbie Gentry's hit "Fancy." "Rose Garden" gave Anderson's sound a strong push toward pop music, so those who enjoy her early straight country recordings will also enjoy this first album for Columbia.

Multi-instrumentalist & vocalist Slim Gaillard's joyous music appealed to adults and little children alike, with songs about love, traveling, potato chips, beer and everything in between. Searching For You: The Lost Singles of McVouty (1958-1974) is the first collection of new Gaillard music officially released with the endorsement of the Gaillard family in decades. Very little is known about the label sources (ie, Putti Records, SGM Records, Delgado, Blue Chip Records, etc.), but they all seem to have been made for companies likely owned by Slim that he was sending out to A&R men and radio stations trying to score regional hits.

"A month after he turned 30, The Weeknd is launching the next era with his most fully realized album yet, “After Hours.” Sonically, the hallmarks are ultra-cinematic keyboards, pulsating sub-bass, hard beats (which are seldom danceable), ‘80s synthesizer flourishes and caverns of echo, all of which contrast with his high, angelic voice."

Dan Smalley is unwavering, echoing hard-lived experiences and removing any filters throughout his forthcoming If I’m Being Honest EP. The four-song set places him solidly within Country music’s rich legacy of storytellers. Smalley draws candidly on his own life story to deliver compelling tales of persistence, love, and redemption. Working with Keith Stegall, known for his award-winning work with the likes of Alan Jackson and Zac Brown Band, brings the same kind of sparkling production to Smalley’s If I’m Being Honest EP and songs like “Till Country Comes Back,” with its buoyant banjo and steel guitar.

Multi-instrumentalist and singer-songwriter George Moir releases his debut EP, Spare Room. The release was heralded by his single "Blame", released in February. Sharing a taste of the album, "Blame" is a warbly, piano-led indie bander, with gospel harmonies and self-produced bedroom flair.

Returning to action after a decade-long hiatus, Roxette don’t skip a beat on 2011’s Charm School. Roxette were never in the thick of things, never setting the pace, but they did reflect their times during their 1988-1991 peak. They still reflect those times 20 years later, still favoring the brightly colored productions of the late ‘80s, still relying on cavernous drums and squealing fuzz guitars skipping over tightly wound guitar riffs, piling on synth after synth, every element accentuating their enormous hooks. Roxette may be a band out of time on Charm School but, well, that’s their charm: they’re still unapologetically big pop, they still celebrate melody over everything else.

The pairing of Hank Williams, Jr. and Connie Francis seems like a coming together of equals now that Williams has become a big star, but at the time the duo recorded Sing Great Country Favorites, Williams was a 15-year-old boy at the beginning of his recording career and Francis was a very well-established artist. Francis, ten years Williams' senior, was given the task of gazing adoringly at Williams for the photo session, which must have been an awkward shoot. Thankfully, the age disparity isn't reflected in the music, as Williams' mature-sounding vocals take the lead and Francis sings mostly harmonies.

Some of this third Bo Hansson album was done at home while most of it was a formal studio creation. Violin and acoustic guitars are added to the mix of sounds on this proto-new age collection of instrumental music. The organs and synthesizers still swell in impressive solos especially on the title track and some of the tunes are fairly memorable, although some of the "tracks," such as "Time and Space," are nothing but short instrumental interlude. Without the dramatic pacing of Hansson's first album, this recording ultimately overstays its welcome.

What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is uneasy laughter, the sensational second sub pop release from Los Angeles-based moaning. Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A.

Packaging contains photos, liner notes & remembrances from members of Wilco and Guided By Voices Throughout the 1980s, the California based Game Theory was ONE OF THE MOST original (and critically acclaimed) indie-rock bands. Their blend of ’60s and ’70s pop influences such as Todd Rundgren and Big Star coupled with a post-punk energy led to a string of diverse albums nearly all produced by Mitch Easter of Let’s Active. For the past several years, Omnivore has painstakingly reissued each and every one of their original albums with the addition of a slew of unreleased bonus tracks. Their final album, 1988’s Two Steps From The Middle Ages was reissued in June 2017.

Having waited 17 years for Drift Code, some may be surprised at Clockdust's swift arrival, but the album's roots can be found in the same extended sessions. "Early on I realised I had two albums worth of material," Webb explains. "The first tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust."

Conan Gray announces his highly anticipated debut album Kid Krow, releasing on March 20th, 2020 via Republic Records. Gray recently wrapped up his headlining tour with three sold out nights at The Fonda in Los Angeles. Having sold over 65,000 tickets over his first two headline tours, Conan has quickly built an undeniable fan base. Kid Krow features the hit single "Maniac" which has already amassed over 110K in Global Consumption!

Siena Root came to life in Stockholm and is today considered one of the pioneering Swedish bands in roots rock music. They persistently pulled through with releasing their first album on vinyl back in 2004, long before the retro trend had people carrying down their old turntables from the attic. The quest to bring out the beauty of analogue music production to the listeners continued. The live act came to be an uncompromising show, using all the heavy vintage equipment that most bands lack the strength and passion to carry along. Even a full size multi-track tape recorder was brought on tour during the recording of the live album.

‘Rejoice’ is a very special collaboration between Tony Allen, the co-founder of Afrobeat, and Hugh Masekela, the master of South African jazz. Having first met in the 70s thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an afrobeat album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Hugh passed away in 2018.

The Weeknd’s epochs can be clearly defined as pre- and post-“Can’t Feel My Face.” The mysterious character of his mixtape trilogy cut an enigmatic figure lurking seedy club and hotel corridors, and producer Max Martin transformed him into a radio-friendly Kids’ Choice Award nominee, a progression that led to an eventual rebirth as a Daft Punk-retrofitted Starboy. He straddled the line on his last EP, My Dear Melancholy, but there has always been an explicit conflict between the volatile, shapeless R&B of his breakthrough and the sophisti-pop of his star turn.