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Country - Released April 20, 2018 | Warner Records

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Following her debut where she appeared as the new short-lived bimbo of country pop, Ashley Monroe quickly proved she had a strong personality, at times moving away from the path clearly marked out by Nashville. Indeed, the singer from Knoxville, Tennessee, ended up collaborating with Jack White and his Raconteurs, and even founded the Pistol Annies with Angaleena Presley and Miranda Lambert. With The Blade, her third album released in 2015, she confirmed her mastery over a large artistic vocabulary, both with her voice and the instruments chosen. Without revolutionising the genre, Monroe put out an album nicely packed up with contemporary country, filled with effective melodies, and most importantly featuring a voice of stunning purity, inspired by two great untouchables, Dolly Parton and Emmylou Harris… Three years later, Sparrow is the work of a more and more adventurous artist, who never compromises to aim for the top of the charts. Produced by brilliant Dave Cobb who worked with Sturgill Simpson, Chris Stapleton, Shooter Jennings, Colter Wall, Zac Brown Band and Jason Isbell, this fourth opus takes country music down paths previously walked by the likes of Bobbie Gentry, Glen Campbell, Waylon Jennings, Rick Hall, Shelby Lynne and even early Elton John. In that regard, Sparrow isn’t a current pop country album, but rather an old-style record. Timeless to be exact. Cobb’s work is in fact remarkable in its tendency to blur, even erase any sign of the current era… “To me this record is about acknowledging past hurt, forgiveness and freedom to move forward. The most terrible things that happen to you are the most beautiful songs. That's what I respect the most about music." Here, Ashley Monroe plays the therapy card. And while she does settle some scores with her mother and even herself, and dive back into her younger years, her album is both introspective and able to touch anyone. Because, much like Alison Krauss, Lee Ann Womack, or even closer, Kacey Musgraves, she is well aware of the emotional potential of this kind of pathos, while always remaining dignified, serene and very classy. This is the main strength of an album that at times doesn’t hold back on violins, but handles them like one would carry nitroglycerin. Highly recommended! © Marc Zisman/Qobuz
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Country - Released July 24, 2015 | Warner Records

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Country - Released March 5, 2013 | Warner Records

Ashley Monroe spent several years struggling to get heard in Nashville, establishing some behind-the-scenes bona fides by writing songs and singing backing vocals at Jack White's Third Man studios before things started to break her way in a big fashion in 2011, when she teamed with Miranda Lambert and Angaleena Presley as the Pistol Annies. Lambert's star helped sell the trio, but Monroe was a pivotal part of their debut Hell on Heels which, in turn, led to her securing a contract with Warner Nashville, who released Like a Rose early in 2013. Produced by Vince Gill, Like a Rose expertly balances sweet, slightly sad ballads with devilishly funny, modern honky tonk, songs where Monroe asks for "Weed Instead of Roses" and trades barbs with Blake Shelton on the diss-duet "You Ain't Dolly." Here, Monroe strikes a tricky balance between satire and sincerity, never quite tipping the scales in favor of novelty, which is a testament to her savviness as a songwriter and a singer. Monroe is enamored with tradition, pushing fiddles to the foreground and sometimes succumbing to the smoky sway of a slow dance at a dancehall, but she's not a retro-singer, she's a modern girl hauling old ways into the present. This blend of contemporary attitudes and classic sounds is insinuating and addictive, particularly because at nine songs, it's too brief -- once it's through, the album practically begs you to start all over again. © Stephen Thomas Erlewine /TiVo
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Country - Released May 14, 2009 | Columbia

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Pop - Released February 15, 2019 | Warner Records

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Country - Released April 20, 2018 | Warner Records

Following her debut where she appeared as the new short-lived bimbo of country pop, Ashley Monroe quickly proved she had a strong personality, at times moving away from the path clearly marked out by Nashville. Indeed, the singer from Knoxville, Tennessee, ended up collaborating with Jack White and his Raconteurs, and even founded the Pistol Annies with Angaleena Presley and Miranda Lambert. With The Blade, her third album released in 2015, she confirmed her mastery over a large artistic vocabulary, both with her voice and the instruments chosen. Without revolutionising the genre, Monroe put out an album nicely packed up with contemporary country, filled with effective melodies, and most importantly featuring a voice of stunning purity, inspired by two great untouchables, Dolly Parton and Emmylou Harris… Three years later, Sparrow is the work of a more and more adventurous artist, who never compromises to aim for the top of the charts. Produced by brilliant Dave Cobb who worked with Sturgill Simpson, Chris Stapleton, Shooter Jennings, Colter Wall, Zac Brown Band and Jason Isbell, this fourth opus takes country music down paths previously walked by the likes of Bobbie Gentry, Glen Campbell, Waylon Jennings, Rick Hall, Shelby Lynne and even early Elton John. In that regard, Sparrow isn’t a current pop country album, but rather an old-style record. Timeless to be exact. Cobb’s work is in fact remarkable in its tendency to blur, even erase any sign of the current era… “To me this record is about acknowledging past hurt, forgiveness and freedom to move forward. The most terrible things that happen to you are the most beautiful songs. That's what I respect the most about music." Here, Ashley Monroe plays the therapy card. And while she does settle some scores with her mother and even herself, and dive back into her younger years, her album is both introspective and able to touch anyone. Because, much like Alison Krauss, Lee Ann Womack, or even closer, Kacey Musgraves, she is well aware of the emotional potential of this kind of pathos, while always remaining dignified, serene and very classy. This is the main strength of an album that at times doesn’t hold back on violins, but handles them like one would carry nitroglycerin. Highly recommended! © Marc Zisman/Qobuz
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Pop - Released February 1, 2019 | Warner Records

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Pop - Released January 25, 2019 | Warner Records

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Pop - Released February 23, 2018 | Warner Records

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Country - Released May 9, 2006 | Columbia

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Country - Released February 17, 2015 | Warner Records

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Alternative & Indie - Released February 19, 2021 | Mountainrose Sparrow, LLC

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Country - Released May 9, 2006 | Columbia

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Alternative & Indie - To be released April 30, 2021 | Mountainrose Sparrow, LLC

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Pop - Released April 6, 2018 | Warner Records

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Pop - Released March 9, 2018 | Warner Records

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Ambient/New Age - Released November 12, 2014 | Warner Records