Album Review — The Highwomen’s ‘The Highwomen’

The Highwomen are country music’s newest supergroup comprised of Brandi Carlile, Natalie Hemby, Amanda Shires and Maren Morris. With the group’s aim to shine a brighter light on women in country music, along with the undeniable amount of talent the group exudes, their self-titled debut is an album that’s been on my radar for a while. The title track opens, which plays on the same template The Highwaymen had used for their self-titled song back in the 80s. On paper this sounds hokey and contrived. But this song is anything but that. It’s fantastic, as it tells the story of various women throughout history and how they suffered untimely fates. I especially love the surprise appearance from Yola, who sings the story of a freedom rider. Hemby sounds great on her verse too. This is how you open an album!

“Redesigning Women” is another amazing song from the group. It’s a song that promotes all types of women and what makes them great. The lyrics are clever, relatable, catchy and meaningful. The harmonizing, especially in the bridge, is that powerful moment that drives the song home. It’s no hyperbole when I say this song is perfect. “Loose Change” has the misfortune of following it, but it’s no slouch either. It’s a great song about a woman feeling used and under-appreciated in a bad relationship. She likens herself as loose change to him and I love the visual this creates, as it perfectly conveys to you the emotions she’s feeling. Again, it’s clever and relatable songwriting from this group.

“Crowded Table” is a down-home country song that’s impossible to listen to without coming away feeling warm and happy. The song is about family and bring everyone together around the table. The harmonies on this song are excellent, showing the chemistry and cohesiveness of these four artists. Kudos to producer Dave Cobb for building the ideal sound around the harmonies too (warm, powerful and not letting the production overpower it). “My Name Can’t Be Mama” is a fun singalong about women choosing not to be a mom, at least for today. I enjoy all the vocal performances on the song, but I particularly enjoy Morris’ performance, as this style of song really fits her voice.

“If She Ever Leaves Me” is classic country storytelling with a modern twist. Written and primarily performed by Carlile, it’s about a woman watching a man eye a woman on the dance floor, only for him to be informed that she belongs to her. While she may one day leave her, it certainly won’t be for him, as the punchy hook reminds you. Carlile’s passionate vocal performance on this is stunning, especially as she hits the high notes. It’s without a doubt a highlight on an album full of them. “Old Soul” is another great vocal performance from Morris and I enjoy the soaring, clean sound of the song. But man does it drag for far too long. You could easily cut three minutes from this and it would still get the point of the song across. Less is more in this case, especially with a well-worn topic.

“Don’t Call Me” is a fun ditty about telling a man to piss off. I enjoyed this the first few listens, but it just doesn’t have the same effect with repeated listens, as the lyrics on this song are decidedly less clever than other moments on the album trying for this effect. “My Only Child” is an ode to children who grow up without brothers and sisters. I’m impressed alone for just covering a rarely covered topic, but then the group also covers it with tact and grace. The song does a great job focusing on the love shared between the child, parent and the special bond between them, really forming a connection with the listener, even if you can’t relate to the lyrics.

“Heaven Is a Honky Tonk” is a feel-good singalong about the legends of country music passing on to heaven, which the group imagines to be like a honkytonk. It’s a fun song, especially when the group hits the high notes. “Cocktail and a Song” is a real tear jerker and is Amanda Shires shining moment on the album. Shires wrote the song about her terminally ill father, as the song is from the point of view of a daughter watching her father slowly die. It’s a beautifully tragic song and Shires delivers it with such powerful emotion, as you can feel the crushing ache and pain every second she sings. It’s the best she’s ever written.

The album closes with “Wheels of Laredo,” which is my least favorite track on the record. The reason I don’t like it is the songwriting is so boring and outdated and relies on scenery tropes that are overused in country music. If the themes and images were presented more livelier, I could get into it. And I know for sure I didn’t like this song when I didn’t like the Tanya Tucker version either. On an album full of fresh songwriting, it’s a shame it ends with a song on the other end of the spectrum.

At it’s brightest The Highwomen’s self-titled debut album screams album of the year (and maybe one of the best of the decade). But unfortunately, they can’t quite keep this up for the whole album. It’s still a great album though and definitely worth your time if you’re into country music at all. I hope this is the first of many great albums from The Highwomen, as the world needs to hear more.

Grade: 8/10

Album Review — Zac Brown Band’s ‘The Owl’

(Warning: Long review! I don’t like writing them, but this is what happens when this band releases divisive music because I did the same thing two albums ago for this group.)

It’s confounding to many what Zac Brown Band have become. But I actually don’t think the band has changed and I’ll explain throughout this review. I think one big problem this band is running into is they continue to label their albums as country and send singles to country radio, yet in interviews they (and by they, it’s really Zac Brown) say they don’t limit themselves to one genre. Do they not understand how this confuses people? You can’t have your cake and eat it too. People don’t like to be bullshitted and they just want it given to them straight (see Sturgill Simpson on his new album, yet for some reason Billboard still put him on the country albums chart). Instead this band didn’t give it to fans straight and now they’re pissed. As a result this album is being put through the ringer and it’s justified for the band’s confusing signals, but at the same time the most egregious moments on the album are overshadowing what I believe to be some promising signs.

Sorry for this little rant, but it had to be said before I could finally talk about the music on this band’s new album The Owl.

Opening track “The Woods” is pretty fun and upbeat, making it a good choice for an opening track. It’s basically about doing your own thing and acknowledging that we all have different things that make us tick. This is a great song and approach for a band that wants to bend genres and do something different. I think even if you don’t like this song, you can at least respect the sentiment. “Need This” is supposed to be an island getaway song, but I have to tell you I’m not feeling the tropical, beach vibes on this. And when I think of a song like this, I think of a more relaxing tone and not the frenetic sound of this song. It’s just really odd and off-putting considering the theme.

Then we get to “OMW,” which is super catchy. And in this case, it’s not good. It’s not good at all. Because then you get this annoying song about getting a text saying OMW from a significant other stuck in your head. It’s one of the worst ear worms I’ve ever had stuck in my head because the lyrics are so vapid, dumb and not fun. So naturally this will end up a single. “Someone I Used To Know” is one of the better songs on the album, as it’s about someone looking back on their former selves and letting go of it for the person they are now. It’s a great song about growing as a person and one of the few moments on the album where the lyrics go beyond a base level. The sound is even fun and has flashes of country.

The most fun track on the album though is “Me and the Boys in the Band.” That’s because this track plays into this band’s strength of jam band, roots influenced rock with fun, singalong lyrics. The fiddle play of Jimmy de Martini can actually be heard, which has felt missing in this band’s music. You can also hear the band in Zac Brown Band on this song, which is no surprise as it’s one of the few songs on this album that doesn’t have outside writers that Brown brought in (this one is written by Brown, Clay Cook and Luke Laird). If you look at the songwriters on each song of this album, it’s quite telling of how each song turned out.

“Finish What We Started” is about a couple trying to reconcile and keep their relationship intact. Brandi Carlile sounds great as usual as the guest artist on this song, but the song itself doesn’t really do much for me. It lacks the heart and passion needed to really get the lyrics across, which I put on a weak vocal performance from Brown. This was a decent song that could have been great.

“God Given” is…I’m not quite sure how to best describe it. Basically I imagine Zac Brown (this has his finger prints all over it and I refuse to believe this was the band’s idea) was listening to the Rap Caviar playlist on Spotify one day and he thought to himself, “I could do something like this.” But he never thought if he should do it. You’re not a rapper! And hearing Zac Brown sing about Gucci bags and Vera whips is one of the most awkward and clumsy things you’ll hear this year. The lyrics aren’t even bad, but they fit someone like Bruno Mars or Justin Timberlake, not Zac Brown Band. Give this song to Timberlake and it would sound great. This song is the equivalent of someone knowingly putting on leather pants that are five sizes too small and then walking around like everything is fine. It’s not fine, it’s weird and we all feel second-hand embarrassment.

“Warrior” is about the strength and resiliency of people who serve in the armed forces and the struggles they deal with. On an album with multiple bad lyrical moments, this is certainly not one of them and I applaud the songwriters for actually crafting a great song about an important issue around soldiers that isn’t full of the usual clichés you hear in patriotic songs. “Shoofly Pie” has a roots-y and funky sound that I enjoy, similar in the vein of “Me and the Boys in the Band,” as it fits this band really well. The lyrics are fine (they don’t employ a sexual euphemism in a tacky or sophomoric way), but the hook gets repetitive so quickly. This song could have easily been like a minute shorter. “Already On Fire” is another track where I really enjoy the sound. It’s more on the rock side, which this band has demonstrated many times they’re great at, but for some reason they refuse to make a full-blown rock album. The lyrical imagery fits the sound well too, as it gives the song a sinister mood I enjoy.

Closing song “Leaving Love Behind” is the classic sound and song many grew accustom to with this group. It’s about looking back at a relationship that’s ended and trying to let go of the love that was once shared. I imagine Brown drew from his separation from his wife for this song, as you can feel the emotion from the opening note. Most importantly this song feels like the group made it and not Zac Brown with a bunch of outside writers and producers. It proves my point too about the songwriters, as this was written by Brown, Cook, Coy Bowles, de Martini, and Tim and Phil Hanseroth. This song shows this band can still be brilliant when they choose to be.

While many have taken their shots at this album and have come away from it more concerned for the Zac Brown Band than ever before, I actually take away from The Owl that this band is still great. The problem is not the band in Zac Brown Band, but Zac Brown himself. If you remove the three worst songs on this album, the remaining songs are overall pretty good. But the three worst songs are so bad that for many it just completely dominates the rest of The Owl. And it’s clear that the worst moments on this album are of Brown’s doing (see that terrible solo pop album he released as further proof). When Zac Brown Band is allowed to be a tight and cohesive band for a full album, they’re great. But does Zac Brown really want to be in a band anymore? Or is he more interested in his own vanity projects and ideas?

Grade: 6/10

The Hodgepodge: Dear Music Row, Call a Spade a Spade and Start Labeling Your Music Pop

This is probably a recycled thought/topic for this feature, but non-country “country” music has been on my mind all week. It all started with Maren Morris’ HERO. Another recent pop release wrapped up in the label of country music include Keith Urban’s RipcordLittle Big Town is stepping into true pop music with their upcoming project with Pharrell, Wanderlust. This is the direction mainstream country music appears to be taking if last night’s CMT awards are any indication. Little Big Town and Pharrell performed a pop song from Wanderlust. Cam performed with pop group Fifth Harmony, and Cassadee Pope sang backup to Pitbull. Over the years, we’ve seen pop acts like Justin Timberlake, Ariana Grande, Meghan Trainor, Nick Jonas, and Katy Perry all make appearances at “country music” award shows. And for good measure, country music sites like Taste of Country still haven’t let go of Taylor Swift, who officially moved to pop almost two years ago.

I’m not going to sit here and rehash complaints about how Nashville is killing country’s tradition. It’s dead, and I’ve accepted it. The Murder on Music Row has become a full-fledged massacre, despite Chris Stapleton’s best efforts. My plea today is for Music Row to stop calling this music country. Sam Hunt still isn’t country. Ripcord and HERO are not country albums by any stretch of the imagination. With all of their experiment’s with pop music, they’re starting to get it to sound good. Maren Morris and producer busbee have a good pop album on their hands with HERO. She delivers the songs well, with confidence and authenticity from Morris as a singer. And I’ll admit that I enjoy “80’s Mercedes” as a song. It’s a catchy, fun pop song. But let’s stop pretending this is country music; it’s not.

For the last few years, the only reason they defended it as country was due to the fact that the songs sucked, and wouldn’t stand a chance on pop radio. But if future albums follow HERO and turn out to be well-produced pop albums with good pop songs, then call it pop! There’d me no more shame! Everyone, including Thomas Rhett, knows “Vacation” is a joke and wouldn’t stand a chance on any respectable pop radio station, but country radio will play it because that’s where the spotlight hits the bottom of the barrel. Music Row has done everything it could to make country music a joke and piss on the graves of Hank, Cash, Waylon, and now Merle. But now it looks like they’re ready to put forth effort on the pop front. Maybe.

We’re still being treated to half-assed adult contemporary albums like Black, I’m Coming Over, If I’m Honest, and whatever Florida Georgia Line will do. “H.O.L.Y.” certainly paints a picture of an A/C album coming from the duo. I’d call that music closer to pop than country, but it certainly isn’t good. These are albums where no one included seems to care about the music being released. But it seems like their albums are serving as a stepping stone toward moving more in the pop direction.

So, Music Row, start moving your pop music away from the country music landscape so artists like Maddie & Tae, Jon Pardi, Chris Stapleton, and Kacey Musgraves can clean up the mess you’ve made. You’re way past the point of no return, and no one will take any of your b and c level pop singers (aka top “country” singers) seriously if they turn back to country. You’ve completely alienated many of the fans you’ve had at the cost of chasing after a different demographic – a demographic only interested in the hot trend and not the history of a beautiful genre of music. Stop giving this genre a bad name. By putting this music on national TV and calling it country, you’re letting these faces and songs represent the entire genre. Meanwhile, there are several artists like Whitey Morgan, Turnpike Troubadours, Margo Price, and Michaela Anne, to name a few, who are carrying the rich tradition of country music in their music. Let artists like that represent the name “country music” while you and your singers continue to do your pop music under a different name.

So call a spade a spade and, Music Row, start calling your music pop.

Upcoming/Recent Country and Americana Releases

  • Tomorrow, Brandy Clark‘s Big Day in a Small Town will be released.
  • Frankie Ballard‘s El Rio will also be released tomorrow.
  • Jon Pardi‘s California Sunrise will be released next week on June 17th.
  • Luke Bell‘s self-titled album will be released on the 17th.
  • Scott Low‘s The New Vintage will also be released on the 17th.
  • Hey everybody! Josh here with some album news I wanted to pass along to you. I saw Brandi Carlile a couple of nights back (excellent show by the way) and she revealed that they’re going to do a re-release of her most well-known album The Story next year, marking the 10th anniversary of the album. All of the proceeds for the album will be going to the Looking Out Foundation, which helps children who’s lives have been torn apart by wars. Carlile said she and the band won’t be performing the songs on the re-release, but rather a list of guests and friends. She also mentioned one of her idols will be performing the title track.

Throwback Thursday Song

“I’m So Lonesome I Could Cry” by Hank Williams. You can never go wrong with Hank Williams. Despite what Music Row sells, there will always be someone out there respecting the music Hank made.

Non-Country Suggestion

“Hurricane Love” L.A. Woman. How many of you have heard of Cymbal? It’s a music social media app where you simply share a song with your followers, and you can play samples of the songs that are posted directly through the app. It’s a cool concept for an app, but I think it’s still rather new and used mostly on the indie circuit. This is a song I discovered through Cymbal.

Tweets of the Week: CMT Awards Edition

There was no reason to watch the CMT Awards after Chris Stapleton performed “Parachute.” And there was no reason to watch before Chris Stapleton performed “Parachute.”

iTunes Review

Screen Shot 2016-06-08 at 6.21.27 PM

This was left under Jon Pardi’s newest album. California Sunrise has the potential to be the best mainstream album released this year, and if the few songs pre-released are indication, then it could be in a conversation with this year’s best.

Note: The Hodgepodge will return in two weeks, as we will be featuring our mid-year best and worst posts next week.

Predictions for Country & American Roots Categories at the 2016 Grammy Awards

Grammy

On Monday we celebrate the biggest music awards show of the years. I’m of course referring to the 58th Grammy Awards, set to air Monday night at 8 pm ET on CBS. With it being a holiday and football season being over, it should pull even more eyes than usual. It’s an even bigger deal for country and Americana acts this year, as many deserving names are up for the top awards in both. Not only this, but Chris Stapleton is set up to have another huge awards night. This could be another big step forward in mainstream country improving its quality of music and Americana continuing to rise in stature. Now let’s get to the predictions! Keep in mind I’m not the best at this prediction game, but I feel like I do a little better each year. The award shows can be unpredictable. And be sure to make your own predictions in the comments.

Album of the Year

  • Alabama Shakes – Sound & Color
  • Kendrick Lamar – To Pimp A Butterfly
  • Chris Stapleton – Traveller
  • Taylor Swift – 1989
  • The Weeknd – Beauty Behind The Madness 

What I Would Pick To Win: Kendrick Lamar’s To Pimp A Butterfly or Chris Stapleton’s Traveller

What I Predict Will Win: Chris Stapleton’s Traveller – After the 2015 CMA Awards I learned something important: do not bet against Chris Stapleton. This man will prove you wrong. He continues to have monster sales in the fallout of that impressive night. There will be enough vote splitting amongst Lamar and Swift to open it right up for Stapleton to pull off the “upset.” Alabama Shakes have almost no chance and The Weeknd had a breakout 2015, but I don’t think they have enough momentum to win. Beck shocked the world winning this award last year and Stapleton will do it this year.

Song of the Year 

  • Kendrick Lamar – “Alright”
  • Taylor Swift – “Blank Space”
  • Little Big Town – “Girl Crush”
  • Wiz Khalifa & Charlie Puth – “See You Again”
  • Ed Sheeran – “Thinking Out Loud”

What I Would Pick To Win: Kendrick Lamar – “Alright”

What I Predict Will Win: Wiz Khalifa & Charlie Puth’s “See You Again” – This song was one of the biggest emotional hit songs of 2015 and had a monster run on the charts. I give “Alright” and “Blank Space” decent shots at winning. Little Big Town had one of the biggest hits in country music in 2015 with “Girl Crush,” but they stand no chance against these huge names.

Best New Artist

  • Courtney Barnett
  • James Bay
  • Sam Hunt
  • Tori Kelly
  • Meghan Trainor

Who I Would Pick To Win: Courtney Barnett

Who I Predict Will Win: Meghan Trainor – Trainor should win this in an absolute walk. She’s the biggest name of the five by far. Sam Hunt is shockingly the only other artist I could see winning here, but he just doesn’t compare to Trainor’s stardom and impact. For once I’m glad to see Trainor’s name, as it will block Hunt from winning something at an actual awards show.

Best Country Solo Performance 

  • Cam – “Burning House”
  • Chris Stapleton – “Traveller”
  • Carrie Underwood – “Little Toy Guns”
  • Keith Urban – “John Cougar, John Deere, John 3:16”
  • Lee Ann Womack – “Chances Are”

What I Would Pick To Win: Chris Stapleton – “Traveller” (Anything but Urban’s song)

What I Predict Will Win: Chris Stapleton’s “Traveller” – Remember: Do not bet against Stapleton. Nice to see Cam getting some attention and Carrie continuing to get noticed by the Grammys, unlike the CMA and ACM Award shows. It’s really cool to see LeeAnn Womack’s name here too.

Best Country Duo/Group Performance

  • Brothers Osborne – “Stay A Little Longer”
  • Joey + Rory – “If I Needed You”
  • Charles Kelley, Dierks Bentley & Eric Paslay – “The Driver”
  • Little Big Town – “Girl Crush”
  • Blake Shelton & Ashley Monroe – “Lonely Tonight”

 

What I Would Pick To Win: Joey + Rory – “If I Needed You” (Really I would be fine with any of these)

What I Predict Will Win: Joey + Rory’s “If I Needed You” – I believe this will undoubtedly get the sympathy vote, just like Glen Campbell in the Best Country Song category last year. It would be a great sight to see such a loving and talented couple like Joey and Rory to get this honor.

Best Country Song

  • Lee Ann Womack – “Chances Are”
  • Tim McGraw – “Diamond Rings & Old Barstools”
  • Little Big Town – “Girl Crush”
  • Brandy Clark – “Hold My Hand”
  • Chris Stapleton – “Traveller”

What I Would Pick To Win: Brandy Clark – “Hold My Hand” (But again I would be fine with any of these)

What I Predict Will Win: Chris Stapleton’s “Traveller” – Once again I believe Stapleton will have another huge night. The Grammys did a really great job with this category and all five are certainly deserving. Tim McGraw continues to get nominations for the Grammys, but shut out from country awards shows like Carrie. Brandy Clark is set up to have a bigger year at the Grammys next year, but it’s nice to see a quality song like “Hold My Hand” get recognized.

Best Country Album

  • Sam Hunt – Montevallo
  • Little Big Town – Pain Killer 
  • Ashley Monroe – The Blade
  • Kacey Musgraves – Pageant Material
  • Chris Stapleton – Traveller

What I Would Pick To Win: Pageant Material or Traveller

What I Predict Will Win: Chris Stapleton’s Traveller – Need I say it again? Also it’s an absolute joke to see Hunt’s name here.

Best American Roots Performance 

  • Béla Fleck & Abigail Washburn – “And Am I Born To Die”
  • Buddy Guy – “Born To Play Guitar”
  • The Milk Carton Kids – “City of Our Lady”
  • Punch Brothers – “Julep”
  • Mavis Staples – “See That My Grave Is Kept Clean”

What I Would Pick To Win: Punch Brothers – “Julep”

What I Predict Will Win: Punch Brothers – “Julep” – The Grammys seem to really love this group, so I’ll go with it.

Best American Roots Song

  • The Mavericks – “All Night Long”
  • Don Henley & Merle Haggard – “The Cost of Living”
  • Punch Brothers – “Julep”
  • Emmylou Harris & Rodney Crowell – “The Traveling Kind”
  • Jason Isbell – “24 Frames”

What I Would Pick To Win: Only one? But they’re all fantastic!

What I Predict Will Win: Jason Isbell – “24 Frames” – After getting screwed over by the Grammys a few years ago, they finally make amends. With the #1 album in country, folk, rock and Americana, Isbell by far had the biggest 2015. But then again I could conceivably see Henley and Haggard get the nod, along with The Mavericks who seem to do well when nominated for something on the awards circuit. But really what a class of songs to choose from!

Best Americana Album

  • Brandi Carlile – The Firewatcher’s Daughter
  • Emmylou Harris & Rodney Crowell – The Traveling Kind
  • Jason Isbell – Something More Than Free
  • The Mavericks – Mono
  • Punch Brothers – The Phosphorescent Blues

What I Would Pick To Win: Jason Isbell – Something More Than Free (Because why would I pick against our own 2015 Album of the Year winner?)

What I Predict Will Win: Jason Isbell – Something More Than Free – See the reasons I cited above. I have to say it’s great to see Brandi Carlile’s name here, as she is an underrated artist more people need to know about.

Country Perspective’s 40 Most Essential Country & Americana Albums of 2015

Country Perspective's 2015 Most Essential Albums

We’ve reached the end of 2015 and as you’ve seen over this last month there have numerous best of and worst of lists and everything in between. The “listpocalypse” as many dub it is finally ending and we can start focusing on new music really soon. But before we look forward to the new music of 2016, we want to look back one last time on the music of country and Americana in 2015. These are the albums we consider the absolute must listen albums of 2015 if you’re a fan of country and Americana. We should point out that this year’s essential albums list is different in that last year’s list was all albums that we ranked 8/10 or better. This year’s essential list only contains albums (and a few EPs) ranked 9/10 or better.

Originally we wanted to just have it narrowed down to 25 albums, but then it grew to 30 and then 35 before eventually 40. We wanted to make sure we go all of the great music on the list! Keep in mind if we didn’t put an album on this list it’s not because we’re haters or we’re attacking your favorite artist. Do not turn the comments section into “Well you didn’t put (insert name) on the list and you didn’t put this on the list, so I hate it.” Instead put together your own list in the comments if you want, as this is more constructive and creates more interesting conversation.

Now that I’ve gotten all of the ground rules out of the way, let’s get to the music. These are what we consider the 36 most essential country and Americana albums of 2015.

The Best of the Best

Jason Isbell – Something More Than Free

Whitey Morgan – Sonic Ranch

Chris Stapleton – Traveller 

The Awesome Ones

Don Henley – Cass County 

Tami Neilson – Don’t Be Afraid

Houndmouth – Little Neon Limelight 

Wade Bowen & Randy Rogers – Hold My Beer, Vol. 1

Turnpike Troubadours – Turnpike Troubadours

Sam Outlaw – Angeleno 

Jonathan Tyler – Holy Smokes

Blackberry Smoke – Holding All The Roses

Pretty Damn Great

Whitney Rose – Heartbreaker of the Year

Maddie & Tae – Start Here

Cody Jinks – Adobe Sessions

Eric Church – Mr. Misunderstood

Kacey Musgraves – Pageant Material

Gretchen Peters – Blackbirds

Brandi Carlile – The Firewatcher’s Daughter

The Malpass Brothers – The Malpass Brothers

Rick Elliot – West of the Rockies EP

The Lone Bellow – Then Came The Morning

“I Don’t Need Your Rockin’ Chair”

Dwight Yoakam – Second Hand Heart 

George Strait – Cold Beer Conversation

Alan Jackson – Angels & Alcohol

James McMurtry – Complicated Game

Willie Nelson & Merle Haggard – Django & Jimmie

Emmylou Harris & Rodney Crowell – The Traveling Kind

A Little Bit of Everything

John Moreland – High On Tulsa Heat

The Mavericks – Mono

Banditos – Banditos

Corb Lund – Things That Can’t Be Undone

Lindi Ortega – Faded Gloryville 

Will Hoge – Small Town Dreams

Jon Pardi – The B-Sides, 2011-2014 EP

Jamie Lin Wilson – Holidays & Wedding Rings

Justin Townes Earle – Absent Fathers 

Tony Furtado – The Bell

Allison Moorer – Down To Believing 

Kasey Chambers – Bittersweet

The Black Lillies – Hard To Please