{"id":67597,"date":"2026-06-29T15:32:29","date_gmt":"2026-06-29T15:32:29","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/06\/29\/charley-crockett-will-officially-re-release-his-clovis-album\/"},"modified":"2026-06-29T15:32:29","modified_gmt":"2026-06-29T15:32:29","slug":"charley-crockett-will-officially-re-release-his-clovis-album","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/06\/29\/charley-crockett-will-officially-re-release-his-clovis-album\/","title":{"rendered":"Charley Crockett Will Officially Re-Release His ‘Clovis’ Album"},"content":{"rendered":"


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\n\tCharley Crockett<\/a> brought the drama surrounding his 17th studio album, Clovis<\/em>, to a close on Monday when he announced on social media that the LP will be officially released on Friday via the Atlantic Outpost label. The 14-track Clovis<\/em> was recorded earlier this year at the Norman Petty Studio in Clovis, New Mexico, with Shooter Jennings producing and Crockett\u2019s band, the Blue Drifters, laying down the music.<\/p>\n

\n\t\u201cI don\u2019t care if it\u2019s Waylon Jennings or Jimi Hendrix,\u201d Crockett tells Rolling Stone<\/em> of making the record. \u201cAll of my favorite artists, they reach back in the past, they bring it back, and then they do something new with it. I feel that we were able to do that, whether it lands with people or not.\u201d<\/p>\n

\n\tThe release of Clovis<\/em> back in April proved to be the most controversial of any record in Crockett\u2019s catalog. His previous three albums \u2014 those in the \u201cSagebrush Trilogy\u201d \u2014\u00a0 had been put out by Island Records, with the third album in the trilogy, Age of the Ram<\/em>, dropping via Island on April 3<\/a>. Barely three weeks later, Crockett independently released Clovis<\/em> to streaming platforms via his $10 Cowboy Records. On May 7, the record was removed from all streaming platforms, and both Crockett and Island would later confirm that he had split with the label after Age of the Ram<\/em>. <\/p>\n

\n\tCrockett doesn\u2019t go into detail about leaving Island, only to say he\u2019s not harboring any ill will. \u201cYou gotta stick to your guns, man. The agents and the lawyers and the label people and all that, I am not here to crucify any of those people. You need them,\u201d he says. \u201cBut, fuck, man, once they\u2019re driving, that\u2019s when you\u2019re in trouble. That\u2019s what I mean.\u201d<\/p>\n

\n\tIn Crockett\u2019s Instagram post about Clovis<\/em> on Monday, he compared the re-release of the album to America\u2019s independence. \u201cOn this 250th birthday for America, I\u2019m reminded that freedom is something you continue to fight for. A war that never ends,\u201d he wrote. \u201cToday, we win one battle. Clovis<\/em> is out 4th of July weekend on Atlantic Outpost. Let\u2019s ride.\u201d<\/p>\n

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\n\tIn an accompanying Instagram story, he wrote, \u201cWe got to work right away, found a team that believed in getting this record into people\u2019s hands, and turned it around faster than I thought was possible.\u201d<\/p>\n

\n\tCrockett had recorded the \u201cSagebrush Trilogy\u201d in just over a year\u2019s time starting in March 2025, with Jennings at Sunset Sound Studio 3 in Los Angeles. But even with those recordings fresh in his memory, the Norman Petty Studio, with its connections to early rock & roll, especially Buddy Holly, as well as Waylon Jennings \u2014 Shooter\u2019s father \u2014 appealed to Crockett in a way no other studio has.<\/p>\n

\n\t\u201cI was out there playing with Shooter when I first got on to the Red Dirt circuit, coming off the street,\u201d Crockett recalls of his career in the early 2010s. \u201cAnd all those years ago, I never thought it would lead here. Now, he\u2019s one of my best friends. He once said to me, \u2018We\u2019re like the industry\u2019s worst nightmare,\u2019 and I said, \u2018Well, part<\/em> of the industry\u2019s worst nightmare.\u2019 There\u2019s a whole other side of it where we were maybe inevitable to be coming together like we did. I just felt so many things that I can\u2019t condense down into one feeling,\u201d Crockett says. \u201cExcept for, I knew we were supposed to be there.\u201d<\/p>\n

\n\tCrockett and Jennings wrote 12 of the songs on Clovis<\/em>, nearly all of them on site in the studio. Only the instrumental title track, which plays out like a Western, and Johnny Cash\u2019s \u201cDon\u2019t Take Your Guns to Town\u201d qualify as covers. The opening song, \u201cThe Hallelujah Trail,\u201d a saga of a cowboy who lives forever, despite death, was the first the men wrote. Crockett says it set the tone for the record.<\/p>\n

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\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n

\n\t\u201cIn some ways, I think maybe that he and I wrote the best country songs we could have written in the moment,\u201d Crockett says, \u201cLike \u2018Last Night at the Alamo\u2019 or \u2018Country Music<\/a>\u2019 or \u2018Image of a Woman,\u2019 and we were peeling them off one after another.\u201d<\/p>\n

\n\tOpened in 1956, the studio is where most of Buddy Holly\u2019s catalog was recorded, with Petty producing. It\u2019s also where Roy Orbison recorded \u201cOoby Dooby\u201d and Jimmy Gilmer and the Fireballs recorded \u201cSugar Shack.\u201d In 1958, one of Holly\u2019s prot\u00e9g\u00e9s, a young Waylon Jennings, recorded at the studio. As a result, recording Clovis<\/em> was an intensely personal affair for both Shooter Jennings, and one of Waylon\u2019s biggest present-day admirers, Crockett. The studio closed for recordings in the late 1960s and has been largely preserved in its analog-era state since. Crockett had frequently driven through the town, and past the studio, and the idea of recording there captivated him.<\/p>\n

\n\t\u201cIt didn\u2019t have all that energy of, you know, ten thousand bands flowing through there, because of the idleness of the building,\u201d Crockett says. \u201cThat\u2019s one of the reasons I wanted to get in there so bad.\u201d<\/p>\n

\n\tJennings was born in Littlefield, Texas, an hour southeast of Clovis. His youth was spent picking cotton in the surrounding plains. In Jennings\u2019 1996 autobiography, he described his upbringing as \u201cdirt poor, with the floor to prove it,\u201d and said the sound of distant train whistles were constant reminders of where he stood, and the urgent need to escape it. When Crockett passes through now, he focuses on that last part.<\/p>\n

\n\t\u201cWhen I have stood out there in Littlefield, or any of those places out there,\u201d he says, \u201cwhen I think about those trains and those horns blaring, and the way it was so bleak to Waylon, what it makes me think of is the resilience and the hard bark on somebody like that, to come out of that situation and revolutionize country music.\u201d<\/p>\n

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\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n

\n\tHe\u2019s also aware that he\u2019s inviting a backlash under the circumstances of Clovis<\/em>\u2018 re-release, but he\u2019s prepared for it. To Crockett, it\u2019s just an extension of the \u201cauthenticity\u201d discourse that permeates country music, and specifically the part of it where he finds himself accused of cosplaying the genre\u2019s forefathers.<\/p>\n

\n\t\u201cI\u2019m not embarrassed to say this,\u201d he says. \u201cI am no Jimmie Rodgers. I am not Robert Johnson. I am not fucking Hank Williams. Nobody is. But, I got here the same way they did, for my generation. And when I am judged by the creator, he will know that\u2019s the truth. Whether people like me or not, that\u2019s up to them.\u201d<\/p>\n<\/div>\n


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