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

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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

đŸŽ¶ NEW MUSIC đŸŽ¶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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

đŸŽ¶ NEW MUSIC đŸŽ¶â€œHe just launched into ‘Working Man Blues,’ out of nowhere,” Bryan Sutton says of the memorable day some 2...
10/31/2025

đŸŽ¶ NEW MUSIC đŸŽ¶

“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

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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

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

đŸŽ¶ NEW MUSIC đŸŽ¶

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

đŸŽ¶ NEW MUSIC đŸŽ¶â€œHow do we get ourselves into the situations we find ourselves in?” That question informs the thoughtful m...
10/03/2025

đŸŽ¶ NEW MUSIC đŸŽ¶

“How do we get ourselves into the situations we find ourselves in?” That question informs the thoughtful message of “Time To Let Go and Let God,” the latest single from masterful Southern Gospel singer and songwriter, Mark Bishop

“It seems like, even if you try to make the best decisions you can, day after day, even that is not enough to keep you from hardship and trouble. The best people I know
 people who are kind and thoughtful and mindful of their actions and considerate of the people around them
 I still see them going through hard times.

“We need a helper in times of trouble. That’s where God comes in.”

Indeed, where Bishop’s previous single framed its affirmation with lush orchestration, “Time To Let Go and Let God” uses a simmering, soulful groove, wailing harmonica, gritty guitar and illuminating flashes of organ to convey those times of trouble and doubt, as Bishop’s urgent lead is surrounded by harmonies from Freddie Ratliff, Victoria Bowlin and Lauren Talley, articulating its simple question:

Don’t you think it’s time to let go and let God?
Don’t you think it’s time to let go and let God?
You’ve been holding on so long, now your strength is nearly gone.
Let Go and let God.

“If you’re tired of pain and stress and worry,” says Bishop, “God says, ‘Come to me and I will give you rest.’ Don’t you think it’s time to stop fighting the battle alone? Don’t you think it’s time to just let go?”

“Time To Let Go and Let God” is streaming in Dolby Atmos spatial audio on Apple Music, Amazon Music and TIDAL.

Listen to it here: https://clg.lnk.to/mb-TTLGALGPR

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50 Fisk Drive
Arden, NC
28704

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