Crossroads Label Group

Crossroads Label Group Home to Horizon Records, Sonlite Records, Mountain Home Music Company, Organic Records & Crossroads Recording Studios.

Crossroads is a market leader in the fields of Bluegrass, Americana and Christian recorded music, distribution, music publishing and radio promotions. Established in 1993 following the combination of Horizon Music Group and Sonlite Records, Crossroads now operates several divisions including Crossroads Label Group (Horizon Records, Sonlite Records, Mountain Home Music, Organic Records, Skyland Rec

ords, Pisgah Ridge Records and Verus Records), Crossroads Distribution (physical and digital), Crossroads Radio Promotions, and Crossroads Publishing Group. Led by a strong executive team of long-time Christian and Bluegrass music veterans, Crossroads has created a challenging and rewarding work environment characterized by a commitment to our artists and songwriters, one another, our customers and partners and community service

🎶 NEW MUSIC 🎶“Every once in a while,” says acclaimed fiddler and mandolin player Andy Leftwich , “you sit down with your...
11/21/2025

🎶 NEW MUSIC 🎶

“Every once in a while,” says acclaimed fiddler and mandolin player Andy Leftwich , “you sit down with your instrument, a melody just falls out and, within a few minutes, you have a fun catchy melody! This is exactly what happened to me with this song.”

Leftwich is talking about “Old Hickory,” his latest single and a follow-up to his popular “Tom and Jerry,” a Texas-style tune that’s landed repeatedly on the bluegrass airplay charts since its mid-summer release. And he’s right — it’s a catchy number with a classic fiddle tune construction and a Celtic flavor, executed to perfection from its spirited fiddle-and-guitar opening to its sizzling finale. And though it’s barely the length of a good song, there’s ample room for Leftwich and his colleagues — banjo phenom Matt Menefee (Mumford & Sons, Mountain Heart), bassist Byron House (Nickel Creek, Robert Plant’s Band of Joy) and two-time IBMA Guitar Player of the Year, Cody Kilby (Travelin’ McCourys) — to navigate its twists and turns, shaded by their own creativity and masterful technique.

“Even though it’s a fiddle tune, I actually wrote it on my guitar,” notes Leftwich. “After a few small changes to the melody, I finally landed on something that flowed well under the fingers — not only for the fiddle, but the lead guitar part as well. I was honored to have my good friend, Cody Kilby, take the lead guitar on this one! It’s so much fun to play and was named after Old Hickory, a town near where I live.”

"Old Hickory" is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL .

Listen here: https://clg.lnk.to/al-OldHickor

🎶 NEW MUSIC 🎶“Releasing my first full-length solo record has been a wild experience,” says Vickie Vaughn Band of Travel...
11/21/2025

🎶 NEW MUSIC 🎶

“Releasing my first full-length solo record has been a wild experience,” says Vickie Vaughn Band of Travel On, her new album. “I have so much to give and so much to say musically, and having Deanie Richardson, Mike Simpson, and Mountain Home help me with this project feels like a true, long-awaited introduction.”

To say that Travel On has been long awaited hardly does its appearance justice, for Vaughn has been among those at the forefront of a new generation of bluegrass-based roots music artists almost since her last release, a six song EP in 2015. Yet if the wait’s been long, her stunning full-length debut reveals itself from the very first notes of the opening title track to have been worth the wait. Produced by friend and award-winning fiddler, Deanie Richardson, it’s a deliciously kaleidoscopic review of Vaughn’s strengths — not only as an award-winning bassist, but as a powerhouse vocalist and accomplished songwriter, too.

Those same strengths are also apparent on the second and focus selection, “Bottle of Wine." The song moves along thanks to the band Vaughn and Richardson assembled: Casey Campbell (mandolin); banjoist Wes Corbett (Sam Bush Band); guitarist Cody Kilby (Travelin’ McCourys); Dave Racine on drums; and Lillie Mae and Frank Rische on harmony vocals.
The small cast (the list is completed with Justin Hiltner, who sings harmony on “She’s On My Mind”) gives Travel On an extra measure of consistency to what’s supplied by Vaughn’s sensitive rhythmic foundation, by turns restrained and driving, but always supportive of the song. These are musicians whose contributions betray not only deep talent, but familiarity with Vaughn’s musicality — and personality, too.

Indeed, it’s Vaughn’s unique character that ultimately ties together the different strands that make up Travel On’s seamless whole. It’s that personal note that Vaughn returns to as she offers her final thought on the album: “I really hope y’all like it, and feel that we have a connection after listening.”

Travel On is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL

Listen to it here: https://clg.lnk.to/vv-Travel.OnPR

🎶 NEW MUSIC 🎶His last two singles are both still on the air, but Jesse Smathers Music — singer/guitarist with the fable...
11/14/2025

🎶 NEW MUSIC 🎶

His last two singles are both still on the air, but Jesse Smathers Music — singer/guitarist with the fabled Lonesome River Band — has too much to offer in his distinctive blend of bluegrass, old-time and folk sensibilities to slow down. So he's back with an equally distinctive discovery in his latest single, “Dark Clouds.”

“‘Dark Clouds’ is a beautiful, thought-provoking ballad I learned from early country music pioneer and Grand Ole Opry star Kirk McGee,” he says. “The original recording is obscure, but the song he composed carries a thoughtful and deep lyric, painting a lonesome image of feeling existentially lost. This song is a prayer for finding one’s way in life; a desperate plea to be put on the right path.”

Indeed, “Dark Clouds”'s troubled mood is established at its outset, as Hunter Berry’s mournful fiddle outlines the song’s melody over restrained back-up from Smathers, mandolinist Nick Goad, Joe Hannabach (bass) and banjo man Corbin Hayslett, whose intriguing mix of old-time and bluegrass techniques stands out from start to finish. Those accustomed to hearing Smathers normally high-ranging, often good-humored voice will find a new dimension in his somber, lower-register approach here — framed in the chorus by harmonies from Goad and Patrick Robertson — as he delivers the lyric’s veiled depiction of uncertainty and helplessness:

My whole life through I searched to find
My special place among mankind
Each road I take, it seems, is wrong
I keep hearing this sad, sad song
…
Dark clouds moving across the sun
The earth grows black and once again I’m blind
Ill will is singing a sad, sad song
Lord help my wandering feet to find the place, it’s time

“I am fascinated by the lyrical weight of many old tunes,” confesses Smathers. “It's so beautifully and poetically written. Though the chorus eerily goes to a minor chord, the beautiful major melody backing up the verses, help tonally convey the sense of hope in finding where ‘one’ belongs. For me, this song is a beautiful reminder of those low times I've experienced and how a similar prayer placed me on the right path. I hope you enjoy ‘Dark Clouds.’"

Listen to it here: https://clg.lnk.to/js-DarkClouds

🎶 NEW MUSIC 🎶Eighteen Mile is making a strong showing with their debut single, “Above The Clouds” — already it’s topped...
11/14/2025

🎶 NEW MUSIC 🎶

Eighteen Mile is making a strong showing with their debut single, “Above The Clouds” — already it’s topped the Bluegrass Today Gospel chart more than once since its September release — but the youthful quintet is already back with a follow-up.

“I’ve always been intrigued by the mental picture of Moses climbing up Mount Sinai to meet God in Exodus 34,” says multi-instrumentalist Carson Aaron, who wrote and sings lead on “What Mercy Means.”

“The Bible paints a picture that the mountain was dark and terrifying,” he continues, “and it even describes earthquakes and thunder, all because the Holy presence of God was there. I wrote this song to capture the divine tension of a Powerful, Holy God meeting an unholy man. The song then relates the Bible story to my personal story — that even though I deserve the punishment that comes from being a sinner before a Holy God, He surprises me with overflowing mercy every morning instead.”

Punctuated by an appropriately contemplative melodic theme from fiddler Savannah Aaron — sometimes alone, sometimes doubled by Jack Ritter’s subdued banjo — "What Mercy Means" features pristine harmonies from Ritter and Emily Guy that give gentle support to the song’s finely crafted, deeply felt chorus:

He said, I am merciful and gracious, and full of love for thee
The Giver of all good things to those who call on Me
I am still the God of justice and the guilty won’t go free
But watch and I will show you just what mercy means

Produced, like its predecessor, by renowned fiddle and mandolin player Andy Leftwich “What Mercy Means” offers its timeless lesson in a musical form that listeners are already finding fits within a long-lived and deeply beloved bluegrass gospel lineage.

"What Mercy Means" is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL

Listen to it here: https://clg.lnk.to/em-WMM

🎶 NEW MUSIC 🎶For the third rapid-fire entry in From Roots to Branches, Bryan Sutton ’s unprecedented duet series, the ma...
11/14/2025

🎶 NEW MUSIC 🎶

For the third rapid-fire entry in From Roots to Branches, Bryan Sutton ’s unprecedented duet series, the master guitarist teams up with a surprising guitar colleague to deliver a sweetly contemplative exchange on the venerable 19th century pop song turned roots music favorite, “Grandfather’s Clock.” And indeed, while Sierra Hull is best known as a mandolin player — she’s the reigning IBMA’s Mandolin Player of the Year and was just nominated for four GRAMMY awards this season, including Best Bluegrass Album — friends like Sutton have been admirers of her guitar work for years.

“I'm so happy to have Sierra on this record,” he says. “We chose the song, ‘Grandfather's Clock,’ just because it's a classic, beautiful melody. A lot of people know what a great mandolin player Sierra is, but I've always known what a great guitar player she is. This song meant a lot to us, and in fact, I'm playing my grandfather's old Martin 0-17 guitar on this track.”

Written in 1876, “Grandfather’s Clock” was enormously popular right out of the gate, selling more than 800,000 copies of sheet music — and coining the term “grandfather clock” to describe a longcase clock like the song’s. Sutton and Hull begin with a gently legato statement of the first of the tune’s three parts before picking up the tempo, which nevertheless remains more stately than earlier versions by iconic banjo players. And from start to finish, the duo’s finely crafted virtuosity serves to elevate the sweet melancholy feel of the song itself.

"Bryan is one of my favorite musicians in the world to listen to and make music with,” Hull exclaims. “He knows how to elevate any musical situation he enters. Whether he is supporting a simple melody with pure tone and restraint or providing a wave of rhythmic brilliance and musical playfulness to ride along with, he always knows how to make things feel and sound easy. He’s one of my biggest heroes, so I’m both honored and thrilled to get to be a part of this new duets project with him!”

"Grandfather's Clock" is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL

Listen to it here: https://clg.lnk.to/bs.sh-GfC

🎶 NEW MUSIC 🎶After the dazzling precision of their “Cacklin’ Hen” and “New Camptown Races,” twin fiddlers Deanie Richard...
11/07/2025

🎶 NEW MUSIC 🎶

After the dazzling precision of their “Cacklin’ Hen” and “New Camptown Races,” twin fiddlers Deanie Richardson (Sister Sadie) and Kimber Ludiker (Della Mae) are keeping the energy level high but taking a different tack on their latest single, “No-See-Um Stomp.”

“I wrote ‘No-See-Um Stomp’ after meeting a flock of them for the first time on the east coast,” explains Ludiker. “As a PNW girl, I was mortified by their existence and the one billion bites I suffered. This tune came out of me very quickly. The first part is the swarm, and the second part… human agony. I recorded it once with my band Della Mae, and although there’s an amazing ‘twin guitar’ moment with Avril Smith and Molly Tuttle, I always heard this tune as a twin fiddle tune. As you know, you never encounter just ONE of these bugs, so I’m very excited to have a twin fiddle version of this with Deanie Richardson.”

The musical depiction of a swarm of the tiny insects is vivid right from the start, as the jittery feeling of the melody is accentuated by a characteristically old-timey dropped beat in the first part of the tune. Punctuated by high octane solos from reigning IBMA Banjo Player of the Year, Kristin Scott Benson, mandolinist Tristan Scroggins (Missy Raines & Allegheny) and the Travelin’ McCourys’ award-winning guitarist, Cody Kilby, held together by stout bass work from Hasee Ciaccio, “No-See-Um Stomp” is a blazing romp that also manages to make room for the momentary let-up of a “break down” section and a surprisingly timed yet masterful reharmonization behind both of the tune’s parts before skittering to a close.

“We took a mild ‘controlled chaos’ approach to this,” notes Ludiker, “which fits the tune perfectly. Instead of linear twin fiddle parts, we depart here and there, swarming around each other just like the little critters this tune was written for.”

“No-See-Um Stomp” is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL .

Listen to it here: https://clg.lnk.to/dr.kl-NSUS

🎶 NEW MUSIC 🎶She’s a founding member of one of the hottest bands in bluegrass, but Sister Sadie’s Gena Britt has a stel...
11/07/2025

🎶 NEW MUSIC 🎶

She’s a founding member of one of the hottest bands in bluegrass, but Sister Sadie’s Gena Britt has a stellar reputation of her own that goes back more than 30 years. Now, the acclaimed banjo picker—she was nominated again for this year's IBMA Banjo Player of the Year award—and singer is set to release her first solo album in nearly six years. And while Streets, Rivers, Dreams & Heartaches, out now, has plenty of the virtuosic picking and soulful vocals for which she’s been known for decades, her latest collection shows an artist who’s continued to grow and stretch her horizons in new directions, too.

"I am so grateful to Mountain Home for believing in me and allowing me to create this music that I'm so very proud of,” Britt enthuses. “The musicians and singers that I assembled for this project sound so good together! We first played in an all-star configuration at the Station Inn, and it was so much fun that I wanted to continue that in the studio. These guys and gals truly poured their hearts and souls into these songs, and I cannot wait for the world to hear them!"

“All-star” is no exaggeration, for the core team Britt put together includes award-winning fiddler Jason Carter and his one-time Travelin’ McCourys/Del McCoury Band mate Alan Bartram (acoustic bass, harmony vocals), stunning singer-guitarist John Meador (Vince Gill Band) and rising star Jonathan Dillon on mandolin, supplemented with contributions by East Nash Grass’s Jeff Partin (resonator guitar), Dillon’s Red Camel Collective bandmate and award-winning singer, Heather Berry Mabe, Balsam Range’s Caleb Smith, The Isaacs’ Ben Isaacs and old-time banjoist Tina Steffey.

The resulting collection offers a well-rounded portrait of an artist grounded in the personal authenticity of the bluegrass she’s spent a lifetime mastering—and contributing to—yet unafraid to explore new dimensions in her creative quest. Streets, Rivers, Dreams & Heartaches makes a compelling case that Gena Britt is just now reaching the peak of her musical powers.

The album is streaming in Dolby Atmos spatial audio on Apple Music Amazon Music and TIDAL

Listen to it here: https://clg.lnk.to/gb-SRDH

🎶 NEW MUSIC 🎶For the second entry in From Roots to Branches, Bryan Sutton ’s unprecedented duet series, the master guita...
11/07/2025

🎶 NEW MUSIC 🎶

For the second entry in From Roots to Branches, Bryan Sutton ’s unprecedented duet series, the master guitarist has teamed up with next generation, reigning IBMA Guitar Player of the Year Trey Hensley , to deliver “It Takes All Kinds to Make a World.” Made in equal parts of whimsy and virtuosity, it’s a delicious romp that highlights one of the differences between the legendary session player’s 2006 duet collection and the new one.

“One of my goals with this new collection of duets versus the first collection of duets from 20 years ago was to sing,” says Sutton. “I am as much a fan of Trey's singing as I am of his playing, so it was great to search for songs to do with him. This silly Roger Miller song provided a great opportunity to showcase what we do when we get together, which is just laugh and have a good time!”

Indeed, it’s easy for a listener to share that good time, as, after a forceful introduction, the two take turns singing the mordant stories that make up the verses of the rarely-recorded gem from the 1964 album that gave the world Miller’s “Chug-a-Lug” and “Dang Me,” while trading instrumental passages that reveal a profound musical compatibility — and plenty of spontaneous good humor, to boot.

Well it takes all kinds to make a world
Big and little men and women boys and girls
And I'm the kinda guy hard luck sure gives a whirl
But I guess it takes all kinds to make a world

“When Bryan reached out about some potential songs we could record together,” Hensley reveals, “‘It Takes All Kinds to Make a World’ was one of the first songs he mentioned — and being a huge Roger Miller fan, I immediately knew that would be a fun one. Sure enough, it was one of the most fun experiences I have ever had in the studio. Of course, sitting down and playing music with a hero is always a good time…I’m so excited for everyone to hear this!”

"It Takes All Kinds to Make a World" is streaming in Dolby Atmos spatial audio on Apple Music , Amazon Music and TIDAL .

Listen here: https://clg.lnk.to/bs.th-ITAKtMaWPR

🎶 NEW MUSIC 🎶“He just launched into ‘Working Man Blues,’ out of nowhere,” Bryan Sutton says of the memorable day some 2...
10/31/2025

🎶 NEW MUSIC 🎶

“He just launched into ‘Working Man Blues,’ out of nowhere,” Bryan Sutton says of the memorable day some 20 years ago that he and American music legend Doc Watson recorded the opening entry in his From Roots to Branches guitar duet series. “It just felt like, I hope I got all that, I hope the tape didn't run out!”

Heralding the serial release of the generous collection, which features the acclaimed guitarist paired with a stunning assortment of new generation pickers leavened by musical conversations with friends and colleagues from beyond bluegrass, this “Working Man Blues” reveals a third strand to the tapestry of recordings — never before heard collaborations with some heroes of his own six string education.

Capturing that spur-of-the-moment performance (“I just had to pick that one time and hear what you did to it,” Doc chuckles at its conclusion), the intimate reading of Merle Haggard’s classic reveals the relaxed friendship of the two masters, along with — of course — a boatload of signature picking, as the two trade solos in between Watson’s warmly wry delivery of the blue collar anthem’s verses. “You never knew what you were going to get with Doc Watson outside of fiddle tunes and bluegrass and folk ballads and things like that,” Bryan recalls. “From Crystal Gayle songs and ‘Nights in White Satin’ through all that ‘Docabilly’ stuff and swing tunes…Doc was a fan of Merle Haggard, too, and probably knew more Merle Haggard songs than he ever played for anybody.”

“It was such an honor to know him,” he continues. “I had forgotten he sang ‘Working Man Blues,’ and I was pleasantly reminded years later when I was going through the tracks. It’s all one take! I’ll forever cherish the time I had with Doc.”

"Working Man Blues" is streaming in Dolby Atmos spatial audio on Apple Music, Amazon Music and TIDAL.

Listen to it here: https://clg.lnk.to/bs.dw-WMBPR

🎶 NEW MUSIC 🎶Back with their first song since their album, Resilience, Unspoken Tradition is, like their western North...
10/24/2025

🎶 NEW MUSIC 🎶

Back with their first song since their album, Resilience, Unspoken Tradition is, like their western North Carolina home, not finished with the turmoil of hurricane Helene, nor with bigger trends that have shaped its mountain communities. That unfinished business finds reflection in “Refugee.”

“What makes this song special is that it challenges us as listeners to meet in the middle,” says singer-guitarist Audie McGinnis. “People from all walks of life are feeling that something isn't right with society and the governing of it. It's bigger than politics. Way too many of us strove for excellence just to become a cog in a wheel. In addition to that, I think people across the country, but especially those in western North Carolina and broader Appalachia, know that when we need them most, the cavalry isn't coming. At least not as fast or as effectively as our tax contributions would have us believe. In fact, many of us often feel forgotten altogether. And in the worst cases, it doesn't even take a hurricane, floods, or wildfires to make it so.

“This song is about the hard lessons we've learned over months, years, decades, and generations,” he continues. “But the hope is found when we realize this song is about all of us. We may have all approached from different paths, but we're all here. Scanning our barcodes. Walking down the line. Now we've got to lay down our differences and focus on our common concern: the plight of the common, working men and women out there who invested in a dream that left them behind.”

With its swirling signature instrumental theme and distinctive vocal arrangement, “Refugee” embeds its message in classic bluegrass style.

Notes McGinnis, “Aaron Bibelhauser also wrote ‘Irons in the Fire,’ which appeared on our Imaginary Lines album. I'd encourage everyone to listen to these two songs together. Through the struggle, there is always hope. Now more than ever, we have to find that hope in each other.”

Listen to it here: https://clg.lnk.to/ut-Refugee

🎶 NEW MUSIC 🎶After the classic country vibe of “How Small of Me,” Chris Jones & The Night Drivers are back in the blueg...
10/24/2025

🎶 NEW MUSIC 🎶

After the classic country vibe of “How Small of Me,” Chris Jones & The Night Drivers are back in the bluegrass saddle with an up-tempo tale of learning to move on.

“I have no idea where the phrase ‘file it under over’ came from,” Jones confesses. “It was just one of those things that popped into my head one day. Aside from the play on words, I got to thinking about the idea of filing something away for good, whether it be a bad relationship or an addiction of some kind, and I pictured a file with ‘over’ on the tab.

“I’ve been friends with songwriter and bluegrass broadcaster Terry Herd for many years,” he continues, “and he’s written all sorts of award-winning and hit bluegrass songs with a range of writers, but we had never written one together, and it’s been something I’ve wanted to do for a long time. We discussed the song concept together when I was at his house in Nashville, and we got right to work on it. He was the one who came up with the phrase ‘in a little box of pain,’ which I think is my favorite part of the song. The uptempo, straight ahead bluegrass approach really fit with the uplifting feeling of filing something negative away and moving on.”

Starting with a characteristically subtle bit of musical wit — mandolinist Mark Stoffel kicks off the song with a presentation of the verse melody in a different key from the rest of the song — Jones, Night Drivers Stoffel and banjoist Grace van’t Hof, along with guests Jon Weisberger (bass), Tony Creasman (percussion) and labelmate Carley Arrowood on fiddle frame “Under Over”’s meditation on acceptance with a driving beat.

And notably, after an instrumental interlude that offers van’t Hof, Arrowood and Stoffel taking turns, a brief third verse reveals the backward-looking stance of the narrator before returning to a chorus now recast in the first person.

Elegant songwriting, quietly virtuosic picking and Jones’ warm, reassuring baritone vocal all add up to make “Under Over” a quintessential Chris Jones & the Night Drivers creation.

"Under Over" is streaming in Dolby Atmos spatial audio on Apple Music, Amazon Music and TIDAL.

Listen to it here: https://clg.lnk.to/cj-UnderOver

🎶 NEW MUSIC 🎶After the lickety-split speed of his chart-topping “Everybody’s Got Their Nine Pound Hammer,” Ashby Frank ...
10/24/2025

🎶 NEW MUSIC 🎶

After the lickety-split speed of his chart-topping “Everybody’s Got Their Nine Pound Hammer,” Ashby Frank dials back the tempo — and turns back the clock — with a new take on Jimmy Martin’s enduring classic, “Mr. Engineer.”

Frank only rarely got to see the self-titled King of Bluegrass before his death in 2005, but as with most bluegrass artists, the Hall of Famer’s contributions are part of his musical DNA. Yet Frank’s approach to the song is no carbon copy of the memorable original. Abetted by long-time friends and colleagues Seth Taylor (guitar), Matt Menefee (banjo), Travis Anderson (bass), Jim VanCleve (fiddle) and labelmate Jaelee Roberts (harmony vocal), his reading brings out the blues in Martin’s and fellow Hall of Famer Paul Williams’ creation, while taking its waltz time at an even more stately pace:

I’m gonna catch me a freight train
I’m leaving this lonesome town
The one I love and gave my heart to
For someone else she’s turned me down

Engineer, reach up and pull the whistle
Let me hear that lonesome sound
For it blends with the feeling that’s in me
The one I love has turned me down

“I started performing this Jimmy Martin and Paul Williams classic onstage with Mashville Brigade years ago,” Frank recalls, “and recently started adding it to the set list of my Yachtgrass band’s shows. I have wanted to record it since I started singing it live, and I am so proud of the finished product. I just love the old school vibe and super lonesome content of the lyrics and melody, and of course Matt and Jim added some wicked and bluesy solos that made the whole track gel together. I can’t wait for everyone to hear it!”

"Mr. Engineer" is streaming in Dolby Atmos spatial audio on Apple Music, Amazon Music and TIDAL.

Listen to it here: https://clg.lnk.to/af-Mr.Engineer

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