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Country - Released November 20, 2019 | The Valory Music Co.

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Country - Released November 20, 2019 | The Valory Music Co.

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Country - Released October 4, 2019 | The Valory Music Co.

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Country - Released October 4, 2019 | The Valory Music Co.

There is smoke coming from Fire & Brimstone -- a heavy fog, to be precise, emanating from "Welcome to Hazeville," a slow, grinding jam featuring Colt Ford, Lukas Nelson, and his father Willie. Not everything on this, Brantley Gilbert's fifth album, is indebted to the mellowing vibes of THC, but nearly every one of the record's 15 songs moves at a steady pace. That deliberateness, which still evokes Jason Aldean, is Gilbert's signature, and despite working with a new crew of producers that includes Mike Elizondo and Brandon Day, the singer/songwriter doesn't stray from his wheelhouse at all. Whatever departures he makes exist on the margins, usually amounting to a softening sentimental side. Whether it's his granddad ("Fire & Brimstone") or child ("Man That Hung the Moon"), family can melt Gilbert's heart, and he also tends to get a bit sticky over small towns and romances. These all may be old warhorses for country music, but Fire & Brimstone is firmly grounded in the present day, anchored almost entirely on prominent drum loops and shined so they gleam. Gilbert's inherent reserve means that even when the proceedings are a little light, as they are on "New Money" -- possibly the first song he's done that could be called "effervescent" -- things feel subdued, but that taciturn nature suits a singer with a few years underneath his belt. Maybe Gilbert isn't stretching himself, but he feels at home within these crisp, cleanly lit surfaces and dour tempos. Maybe it doesn't have enough intensity to live up to its titular promise, but Fire & Brimstone nevertheless is a cohesive record that shows Gilbert in firm grasp of his craft. ~ Stephen Thomas Erlewine

Country - Released September 6, 2019 | The Valory Music Co.

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Pop - Released August 30, 2019 | The Valory Music Co.

That’s a hell of a list. With such famous friends, Sheryl Crow has turned Threads into an incredibly impressive collaborative album. The 5-star casting is wonderfully eclectic. From Keith Richards from the Rolling Stones to Public Enemy’s Chuck D., Willie Nelson, St. Vincent, Sting, Emmylou Harris, Lucius, Mavis Staples, Stevie Nicks, James Taylor, Jason Isbell and even her ex, Eric Clapton, the American singer crosses over stylistic and generational boundaries, highlighting her own colourful musical identity. Over the course of her ten previous albums, Sheryl Crow has slalomed between rock’n’roll, pop, country, blues and soul, never settling down in one genre. Such is the case again on Threads, even if the general atmosphere remains rooted in a rather classical rock’n’roll. When she topped the charts in the early 90s, this classicism already stood out next to her contemporaries such as Nirvana, Beck and The Smashing Pumpkins... Crow composed the bulk of the songs on this record, as well as adding some exceptionally tasty covers to the mix (George Harrison’s Beware of Darkness, Bob Dylan’s Everything is Broken, The Worst by the Rolling Stones, Kris Kristofferson’s Border Lord). Her prose on this record is more introspective than ever, taking on an almost confessional tone. Perhaps something to do with her recent shocking statement: Threads will be her last record! While we wait to find out if she will ever reconsider, Sheryl Crow signs her densest work at the age of 57. © Max Dembo/Qobuz
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Pop - Released August 30, 2019 | The Valory Music Co.

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That’s a hell of a list. With such famous friends, Sheryl Crow has turned Threads into an incredibly impressive collaborative album. The 5-star casting is wonderfully eclectic. From Keith Richards from the Rolling Stones to Public Enemy’s Chuck D., Willie Nelson, St. Vincent, Sting, Emmylou Harris, Lucius, Mavis Staples, Stevie Nicks, James Taylor, Jason Isbell and even her ex, Eric Clapton, the American singer crosses over stylistic and generational boundaries, highlighting her own colourful musical identity. Over the course of her ten previous albums, Sheryl Crow has slalomed between rock’n’roll, pop, country, blues and soul, never settling down in one genre. Such is the case again on Threads, even if the general atmosphere remains rooted in a rather classical rock’n’roll. When she topped the charts in the early 90s, this classicism already stood out next to her contemporaries such as Nirvana, Beck and The Smashing Pumpkins... Crow composed the bulk of the songs on this record, as well as adding some exceptionally tasty covers to the mix (George Harrison’s Beware of Darkness, Bob Dylan’s Everything is Broken, The Worst by the Rolling Stones, Kris Kristofferson’s Border Lord). Her prose on this record is more introspective than ever, taking on an almost confessional tone. Perhaps something to do with her recent shocking statement: Threads will be her last record! While we wait to find out if she will ever reconsider, Sheryl Crow signs her densest work at the age of 57. © Max Dembo/Qobuz

Country - Released August 2, 2019 | The Valory Music Co.

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Country - Released July 26, 2019 | The Valory Music Co.

Easing away from the smoother pop inclinations of 2016's Kinda Don't Care, Justin Moore returns to his comfort zone of hard country on Late Nights and Longnecks. The title tips off what the record is all about. Late Nights and Longnecks is soggy with songs about drinking. Not only do a full half of the album's ten songs contain alcohol references in their title, alcohol hangs over the rest of the record. And it doesn't feel like a boozy good time, either. Drinking sounds like a chore on Late Nights and Longnecks, a record where even the party tunes feel sodden. "Why We Drink" is an AA inventory set to a rockin' rhythm, which casts the whole album as a journey through different stages of alcoholism: "Jesus and Jack Daniels" traces the problem back to its roots, he chooses to stay at the "Airport Bar" instead of leaving town, and when he sings "Never Gonna Drink Again," he's not making a promise, he's just setting a goal for that evening's intoxication. It is a saving grace that all these drinking tunes are set to lean, twangy arrangements that split the difference between traditionalism and modern rock; it goes down easy and it's a good fit for Moore's plain, plaintive voice. Scratch much beyond the surface, though, and Late Nights and Longnecks feels gloomy, like the kind of record where you can feel tomorrow morning's headache settling in way too early. ~ Stephen Thomas Erlewine
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Country - Released July 26, 2019 | The Valory Music Co.

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Country - Released June 14, 2019 | The Valory Music Co.

Country - Released June 14, 2019 | The Valory Music Co.

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Country - Released May 31, 2019 | The Valory Music Co.

On his fourth album, Thomas Rhett proves himself as worthy of pop-crossover stardom as Taylor Swift. Genre boundaries disappear with the first song. "Up," comes on like a piano ballad only to take a fake-out turn into vintage R&B, with bright brass and silky backing vocals. "Don't Threaten Me With a Good Time," a collaboration with Little Big Town, is a feel-good funk strut. "Look What God Gave Her" shimmers with boy-band sunniness. And "Don't Stop Driving" jangles like, of all bands, emo pop-rockers Jimmy Eat World. Even when Rhett veers traditional, he never wallows in his whiskey—the MO is positivity and celebrating his good fortune. "Blessed" sways and swoons with unabashed romance ("I'm not sure where heaven is / But every night I get a glimpse"), "Beer Can't Fix" serves up beach-bum twang and the simple satisfaction that a brew will melt away any blues. The title track and Springsteen-ish "That Old Truck" may delve into misty rear-view nostalgia, but Center Point Road is really about Rhett’s anything-goes future. © Qobuz
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Country - Released May 31, 2019 | The Valory Music Co.

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Country - Released May 24, 2019 | The Valory Music Co.

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Country - Released May 17, 2019 | The Valory Music Co.

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Country - Released May 10, 2019 | The Valory Music Co.

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Country - Released May 3, 2019 | The Valory Music Co.

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Country - Released April 26, 2019 | The Valory Music Co.

Country - Released April 19, 2019 | The Valory Music Co.

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