In a career spanning more than 15 years, Morgan has released six studio albums and a live recording from his hometown of Flint, Michigan. Additionally, he has toured relentlessly, averaging over 125 shows annually. Rolling Stone has described him as a "Waylon Jennings acolyte...modern day outlaw [with a] hard hitting blue-collar brand of music," while NPR hailed, "Staying close to the sound and subject matter of classic outlaw artists like Waylon Jennings, Merle Haggard and David Allan Coe, Morgan is poised to lead this hand-worn brand of country to the next generation." Since “Hard Times and White Lines,” dubbed by American Songwriter as his "finest set yet," came out in 2018 , Morgan has been touring relentlessly, culminating in his official Opry Debut earlier this year. With this debut, Morgan not only cemented his place in country music's pantheon but is also embracing a pivotal moment that signifies his evolution from a hard-touring artist to a recognized torchbearer for outlaw country's enduring legacy. Whitey recently returned to the studio and left with a handful of songs, of which he says " I’m more excited about these than I've been about music in a long time." These tracks, all produced by Shooter Jennings, signal Morgan's reinvigorated dedication to pushing the boundaries of what country music can be. "Let Me Roll," the first of these three new songs to be released, is a gritty, heartland anthem with soulful, blue-collar sound and is available to stream everywhere now.

Riding their tired old horses across Detroit, their saddlebags stuffed with bourbon, Coney Island hotdogs and worn Johnny Cash cassettes, are the Orbitsuns, the Motor City’s finest purveyors of low down and dirty outlaw country. Summoning the spirits of all of their brethren, the Orbitsuns are as outrageous as Iggy, as blue collar as Seger, as dark as Alice, as revolutionary as the MC5 and as boundary crossing as the Kid. This is country, folks, but not as you know it. Front man Vinnie Dombroski made his name with alt-­‐rock giants Sponge in the ‘90s, smashing into the charts with hits like “Plowed” and “Molly (16 Candles)”. Sponge were formed out of the ashes of the hard rock band Loudhouse, and they were signed to Sony Records for their first two albums (Rotting Piñata and Wax Ecstatic) and were the opening band on the first night of the Kiss reunion tour in 1996. That band is still a going concern proving that the singer is as prolific as he is talented. It was 1996 when Dombroski discovered his talent for writing fire n’ brimstone, honky-­‐tonk hoe-­‐down from Hell cow-­‐punk music, and before long he found himself with a gun case full of songs that would shake the dust from the oldest Stetson, but wouldn’t fit comfortably Sponge’s repertoire. The obvious solution was to form a new band entirely, one that could roam from dive bar to social club, avoiding the spit n’ sawdust on the floors to bring the party to everyone from the hipsters to the ignored. The band, completed by Jimmy Paluzzi on drums,Bob Hecker on bass,Jeremy “Leroy”Bilitz on guitar and Liz Fornal on vocals are one of the hardest working in Detroit, and in this town that’s really saying something. Their debut album Redneck Disco was originally released in 2001, simultaneously introducing the world to a band which had been honing it’s incendiary live show since it’s inception a couple of years before. That album, which was re-­‐released in 2008 as Redneck Disco Revisited, featured such slabs of whisky-­‐soaked Michigan mayhem as the self-­‐explanatory “Long Line of Sinners”, a dirty cover of Johnny Cash’s “Boy Named Sue”, “La De Da” (a song which celebrates the fact that nobody would want to live next door to these reprobates) and “Haul Ass”, the latter being the Orbitsuns’ call to arms.

LA based, Americana/rock band, Leroy From the North, could best be described as a velour track suit with a Cowboy hat. influenced by the sounds of 70's country gold, mixed with a little Detroit steel, Leroy is just a short dune buggy ride away from the nearest YMCA or above ground pool.