Some albums seem to arrive all at once. The songs are written, the record is made, the artwork is finished, and suddenly it exists. Others take years to become what they were always meant to be. For our latest episode of Judged by the Cover, we sat down with Chattanooga singer-songwriter Teni Rane to talk about her new album, Never Turning Back. What started as a conversation about album art quickly became a much bigger discussion about identity, persistence, collaboration, and what it really means to build a life as an independent artist. Part One: Finding Her Way Back to Music Teni Rane's journey as an artist hasn't exactly been a straight line. Growing up in Chattanooga, Teni spent years balancing music with other parts of her life. She played Division I soccer, studied chemical engineering, lived in Sweden, and eventually began working as an engineer. Music was always present, but it wasn't always the thing at the center of her life. During college, she kept music alive in smaller ways, including volunteering at a local day shelter where she would show up with her guitar and play during lunch. Eventually, after college, the guitar went into its case and life got busy. It wasn't until a friend encouraged her to start playing again at local events that something clicked. Teni began writing and recording more seriously, eventually making Heart in Tennessee. But that project came with a devastating setback: after the initial recording sessions, the recordings and master tapes disappeared. She could have walked away. Instead, she started over. That second attempt not only resulted in Heart in Tennessee, but also introduced Teni to something she hadn't expected...she loved the recording process. That experience helped set her on the path she's on today. Perhaps the most interesting part is that some of the ideas that would eventually become Never Turning Back were already taking shape years earlier. "Meet Me in Stockholm," one of the album's foundational songs, was written in 2016 while Teni was living in Sweden. Sometimes an idea just needs time. Teni talked about the idea of a creative "incubator"...that sometimes a song, project, or idea can sit with you for years before you're ready to bring it to life. For an independent artist, that's an important reminder: just because something isn't ready yet doesn't mean it isn't worth holding onto. Part Two: Building Never Turning Back At its heart, Never Turning Back is an album about place. But for Teni, place isn't simply geography. It's home, heritage, memory, relationships, travel, and the emotional spaces we carry with us. That becomes especially personal when she explores her Armenian heritage and the complicated relationship between where you live, where your family comes from, and what "home" actually means. Songs like "Secondhand Memories" and "Soil on My Soul" explore those ideas, while songs such as "Meet Me in Stockholm," "Arkansas," and "Somewhere to Drive" connect the album to physical places and movement. All of those different pieces eventually needed a visual language. That's where the album artwork came in. The initial idea involved a kaleidoscope...individual pieces coming together to create something larger. That evolved into ideas of storybooks, chapters, and eventually stained glass. Test print of Never Turning Back CD and Vinyl covers for final approval The stained-glass concept became the perfect metaphor for the album itself: individual pieces that can stand on their own, but become something bigger when they're brought together. From there, we developed individual visual elements around the songs and themes of the album. The sun connected back to Heart in Tennessee. Roads represented both physical travel and emotional movement. The rose tied into multiple songs, including "Secondhand Memories." Those pieces eventually became more than just the album cover. They were used as individual single artwork, then expanded into the vinyl and CD packaging, social media assets, labels, cards, and other pieces of the album's visual identity. Teni was particularly intentional about making sure Never Turning Back felt like its own project while still belonging to the larger visual world she'd been building through Heart in Tennessee and Goldenrod. Purple and denim became important visual anchors, showing up not only in the artwork but throughout the album's video content. For Teni, that consistency matters. As she put it during our conversation, artists don't just have an auditory identity...they have a visual identity too. Part Three: The Independent Artist's Survival Guide Our conversation with Teni also turned into something of a masterclass in what it takes to operate as an independent artist. Keep Showing Up Teni's career is full of reasons she could have stopped, but persistence has continued to move her forward. Whether it was losing the original Heart in Tennessee recordings, putting herself forward for Grammy consideration, or simply continuing to create despite the uncertainty that comes with an independent career, she keeps putting the work out into the world. Her mindset isn't that she's the most talented person in the room. It's that she works hard, wants to keep improving, and believes in what she's making. That's something every independent artist can take away: you have to advocate for your own work. Know What You're Trying to Accomplish Teni also talked about the importance of having a release strategy. For Never Turning Back, she released six singles leading up to the full album. Rather than treating the album's release date as the finish line, she began building the story months ahead of time. There's no single formula for releasing music, but understanding what you're trying to accomplish can help determine what your strategy should look like. The Boring Stuff Matters Being an independent artist means doing much more than making art. Metadata, ISRCs, PRO registration, distribution, promotion, radio, press, physical products, and scheduling are all part of the job. The creative work might be the reason people connect with the music, but understanding the business surrounding that work is what allows an artist to operate professionally. Build the Career That Fits You Perhaps the most refreshing thing Teni shared was her perspective on touring. She doesn't necessarily want to spend three months at a time living on the road. Instead, she's looking at weekend runs, destination shows, house concerts, radio appearances, conferences, and opening opportunities as ways to grow her career without forcing herself into someone else's definition of success. And that's an important lesson: There isn't one way to build a successful independent music career. The goal is to create a career that allows you to continue making the work—and to build a life that supports it. Never Turning Back By the end of our conversation, the title Never Turning Back felt like more than the name of an album. It feels like a pretty fitting description of Teni Rane's journey. She stepped away from music. She found her way back. She lost an entire recording. She started again. She wrote songs years before they found their home. She learned how to record, produce, release, promote, collaborate, and keep moving forward. And that's what made working on Never Turning Back such a rewarding project for us at JW Creates. The artwork isn't simply decoration for the music. It's another piece of the story...a way of bringing together the places, memories, movement, and experiences that make up the album. Because that's what we love about album art. The best cover doesn't just decorate the music. It gives the music another way to tell its story. Want to hear the whole conversation? Watch the latest episode of Judged by the Cover on YouTube or listen wherever you get your podcasts. We dive much deeper into Teni's journey, the making of Never Turning Back, the artwork, collaboration, touring, and what it really looks like to build a career as an independent artist.

When Phil first told me that The Rolling Stones had a new album coming out, my honest reaction was, "Wait... really?" Not because I don't respect the band. Quite the opposite. It's just hard to imagine a group that formed in 1962 still creating new music over sixty years later. Most artists eventually fade away, retire, or become legacy acts that simply tour their greatest hits. The Rolling Stones, however, continue to do something few artists ever accomplish...they're still creating. Their latest album, Foreign Tongues, surprised both of us. Not only because of the music, but because of the artwork that introduces it. As we discussed on this episode of Judged by the Cover, the cover art isn't polished, perfect, or conventionally beautiful. In fact, it's intentionally the opposite. And I think there's an important lesson in that for every independent artist preparing to release music today. An Album Cover That Doesn't Try to Be Perfect The cover of Foreign Tongues immediately catches your attention, but probably not for the reasons you'd expect. Instead of another heavily composited photograph or glossy digital illustration, The Rolling Stones commissioned American painter Nathaniel Mary Quinn to create an original pastel portrait. The piece blends recognizable features of the band members into one fractured, weathered face. It's abstract. It's uncomfortable. Some fans have even described it as ugly. Ironically, that's exactly what makes it work. The artwork wasn't designed to present The Rolling Stones as untouchable rock icons. Instead, it reminds us that they're human. After six decades of touring, recording, and performing, they've accumulated scars, stories, and imperfections. Rather than hiding those realities, the artwork embraces them. Even Mick Jagger reportedly joked about the character on the cover being "Mr. Ugly," while still praising the decision to use an actual painting instead of computer-generated artwork. That decision speaks volumes. The Cover Matches the Music One of the things that impressed me most after listening to the record was how closely the visual direction matched the music itself. The album wasn't built around polished perfection. Instead, the band recorded many of the songs live in long takes, allowing natural imperfections to remain. Rather than editing every note into place, they leaned into the chemistry that comes from musicians playing together in the same room. You can hear it. The guitars feel raw. The performances have energy. The blues influence that's always been part of The Rolling Stones' identity is still front and center, and those little imperfections actually make the songs feel more alive. That's the same feeling the cover art communicates before you ever press play. Good album artwork doesn't simply decorate the music, it prepares the listener for the experience they're about to have. What Independent Artists Can Learn As someone who designs album covers for independent musicians, I think it can be easy to fall into the trap of asking, "What does everyone else look like right now?" But that's often the wrong question. The better question is, "What honestly represents this music?" There are incredible AI tools available today. There are thousands of templates. There are design trends that come and go every year. None of those things are inherently bad. But if your artwork only follows trends, it risks looking like everyone else's. The Rolling Stones could have created another clean, polished digital cover. Instead, they hired an artist whose style reflected the emotional character of the album. That choice made the project feel timeless. Your artwork doesn't have to imitate someone else's success. It should communicate your own story. Authenticity Is Becoming More Valuable It's interesting to watch what's happening across creative industries. As AI-generated content becomes easier to produce and digital tools continue making everything cleaner and more perfect, audiences seem to be craving the opposite. We're seeing renewed interest in vinyl records. Film photography continues to grow. Live performances remain more meaningful than ever. Even CDs, which many people assumed were gone for good, appear to be finding new life among collectors and independent artists. Why? Because people still want something real. They want something they can hold. Something with texture. Something created by another human being. That same principle applies to your branding. Perfection doesn't always create connection. Authenticity does. Create Something That Looks Like You One of my favorite moments from our podcast discussion came when Phil asked a simple question: "Would you tell a painter to stop creating because they're 82 years old?" Of course not. Artists create because that's who they are. The Rolling Stones aren't trying to compete with younger bands or reinvent themselves to fit today's trends. They're simply continuing to tell their story the way they've always told it. There's a lesson in that for all of us. Whether you're releasing your first single or your tenth album, don't chase whatever design style happens to be popular this month. Instead, ask yourself what your music actually feels like—and create artwork that reflects that. Because the best cover art doesn't just get attention. It tells the truth. If you'd like to hear our full conversation about The Rolling Stones' Foreign Tongues, including our thoughts on the music, the artwork, and why we think physical media is making a comeback, be sure to check out the latest episode of Judged by the Cover. And if you're planning your next release, I'd love to help create artwork that tells your story. Every great record deserves a cover that's just as memorable as the music inside.

A few days ago, I came across a picture I hadn't seen in a while. It was from what my wife and some of our closest friends jokingly called my "retirement party." Four years ago, they gathered together to celebrate me leaving my full-time job and taking the leap to pursue my creative business JW Creates full time. At the time, it felt like the beginning of a brand-new chapter. Looking back at that picture today, I realized something. I don't think they were celebrating that I quit my job. I think they were celebrating that I finally had the courage to try. That picture made me stop and reflect on everything that's happened over the last four years. If I'm being honest, it's been nothing like I imagined. The Dream JW Creates officially became a full-time business in July 2022, but the story started years before that. Looking back, I can trace it all the way to 2015 or 2016. Back then I was creating simple logos for hobby projects and designing cover art for my own music that I was uploading to SoundCloud. I didn't think of it as a business, I just loved making things. 1ST JW Creates logo designed in 2016 By late 2019 and early 2020, with a little push from my wife, I found myself asking a bigger question: What do I actually want to do with my career? I knew I wanted to create, but I hadn't figured out what that looked like professionally. Then I had my lightbulb moment. I decided I wanted to design cover art. I also realized that if I wanted to build a real business, I couldn't wait around for cover art projects alone. So I started saying yes to just about every creative opportunity that came my way. A logo for a friend's business, cover art for a local musician, podcast artwork, branding projects, and eventually websites. If it gave me the chance to learn and create, I was all in. Slowly, project by project, my evenings and weekends began to fill up. I'd wake up before work to squeeze in a few hours of design, head to my day job, then come home and work on client projects late into the night. Little by little, what started as a creative outlet began turning into something much bigger. It was exhausting. But it was also exciting. For the first time, I could see that maybe this wasn't just a hobby anymore. Then something happened that changed everything. My employer knew I had been doing freelance creative work on the side and approached me about redesigning their website. At the time, it wasn't just the biggest creative project I'd ever been offered, it was the first time I thought…Maybe I can actually do this. More importantly, it started an idea in my mind and heart. If I was already this busy outside of work, what could happen if I actually gave this dream my full attention…? After a lot of conversations, a lot of prayer, and the support of some incredible people around me, I decided to take the leap. What I Thought Success Would Look Like Like most entrepreneurs, I had a picture in my head. I figured that after about a year, I'd have enough steady work to hopefully pay the bills, continue growing the business, and keep building relationships with amazing clients. Looking back, I realize success was never just about money. It was about freedom. I wanted flexibility with my schedule. I wanted time to invest in friendships and community. I wanted to support my wife, our dog, and the life we were building together. I wanted to wake up excited about the projects sitting on my desk, especially album cover projects. Those are still my favorite! I imagined a steady stream of meaningful creative work and the freedom to keep chasing it. Instead...Life got complicated. When the Story Changes There wasn't one dramatic moment where everything fell apart. There wasn't one terrible client. Not one terrible month. One catastrophic decision. It was slower than that. The projects became less consistent. The income became less predictable. The stress became harder to ignore. My wife was incredibly supportive of the dream, but like any responsible spouse, she also cared about things like paying bills and planning for the future. We had already agreed before I left that we'd set benchmarks along the way. If the business wasn't reaching certain goals after a specific amount of time, we'd reevaluate. Six months later, that's exactly what we did. I made the decision to go back to work part-time. Thankfully I was able to return to my previous employer in a completely different role, one focused on the creative work I love doing, while still giving me the flexibility to continue building JW Creates. From the outside, that probably doesn't look like success. In fact, for a long time, I was afraid to even tell people. I worried they'd think... "Well...I guess that didn't work out." I'll admit it. I felt embarrassed. I wondered if people thought I had failed. I wondered if I'd disappointed the people who believed in me. I wondered if I had made the wrong decision. But here's what I've realized. Sometimes we judge a story before it's finished. Looking Back Instead of Looking Around That picture from my "retirement party" forced me to stop comparing my story to someone else's and simply look at my own. When I did, I realized something surprising. I wasn't thinking about money, I was thinking about people. I thought about the incredible clients I've gotten to work with. The musicians who trusted me with the cover art for their songs. The podcasters who trusted me with their branding vision. The entrepreneurs who trusted me to help tell the story of their businesses. The nonprofits trying to make a difference in their communities. I thought about launching Judged by the Cover, a podcast that gave me an excuse to geek out over album artwork with my friend Phil. I thought about joining Podnooga and eventually having the opportunity to help lead this community that's encouraging podcasters and creators throughout Chattanooga. I thought about speaking at a creative conference about podcasting. Speaking at a Rotary Club meeting about my love for album cover art. Even getting invited onto a local television station to talk about the podcast. None of those things were on my original business plan. None of them. And perhaps more importantly, I thought about having the flexibility to be present for my wife's family during her dad's cancer journey & passing. That's not something you put on a vision board. But it's something I'll always be grateful for. If I had never taken that leap four years ago, I honestly don't know how many of those opportunities would have happened. Success Looks Different Now Somewhere along the way, my definition of success quietly changed. Four years ago, success looked like owning my own business full time. Today…? Not so much. Today, success looks like having meaningful work. Working with clients who’s projects genuinely excite me. Creating cover art that tells someone's story. Designing logos that help launch a dream. Building websites that help businesses grow. Having time for my wife. Having time for friends. Being part of a creative community. Having enough stability that I don't have to say yes to every project simply because it pays. Ironically, returning to my previous job didn't kill my creativity. It protected it. Because I'm not relying on every single project to pay next month's bills, I can be more intentional about the work I accept. I can spend more time on projects that truly matter. I can politely say no when something isn't the right fit. I can keep building the business I actually want instead of the business I feel forced to build. That's a freedom I never expected. What I Actually Learned Owning a business has taught me plenty. I'm more confident than I used to be. I'm a better designer. I communicate with clients more effectively. And I've become much more comfortable putting my work into the world without obsessing over every little detail. I've also learned that time management is still something I have to work on. Procrastination still has a way of convincing me that deadlines are farther away than they really are. Some lessons never stop teaching us. But maybe the biggest lesson has nothing to do with business. I used to think successful entrepreneurs were simply more disciplined. More gifted. More driven. Now I think something else matters just as much. The people around you. Looking back at that retirement party picture, I'm reminded that I didn't make this journey alone. My wife supported me, even through the uncertainty. Our friends encouraged us. People believed in me long before I felt like I had earned it. That's a gift I'll never take for granted. When It Doesn't Look Like Success If someone only looked at my career from a distance, they might see someone who left a full-time job only to eventually return to the same one. That's one way to tell the story. But it isn't the whole story. The whole story includes friendships. It includes clients who trusted me with their ideas. It includes podcasts, speaking opportunities, creative growth, confidence, a community I love, and a business that's more focused today than it's ever been. Most importantly, it includes a life I genuinely enjoy living. Looking at that picture now, I don't see someone who took a risk that didn't work. I see someone who had the courage to take the first step toward a life that ended up looking different, and better, than he expected. Maybe success was never about being fully self-employed. Maybe it was always about building a life where I get to use the gifts God has given me, serve people well, create work I'm proud of, love my family, invest in my community, and keep chasing the projects that make me come alive. If that's what success looks like... Then I think I'm doing just fine. And if you're reading this wondering whether your own journey looks "successful" enough, maybe stop comparing it to someone else's highlight reel. Instead, ask yourself a different question. Are you becoming the person you hoped you'd become? Because sometimes success doesn't look like success at all. Sometimes it just looks like growth.

Every music fan has a handful of albums that become more than just records. They're bookmarks. They're attached to seasons of life, friendships, road trips, heartbreak, new beginnings, and moments that quietly change who we are. Years later, all it takes is hearing the opening notes of a song, and suddenly you're transported back to that exact moment. That's exactly what inspired the latest episode of Judged by the Cover. Instead of focusing on one album, Phil and I decided to have a conversation about a few Christian records that left a lasting impact on us—not necessarily because they're the greatest albums ever made, but because they became part of our stories. More Than Just Christian Music One thing we wanted to make clear from the beginning of the episode is that this isn't really an episode about Christian music. It's about music that shaped us. Whether your favorite albums come from rock, country, hip-hop, jazz, or worship music, most people can point to a few records that influenced the way they think, create, or even see the world. For me, that album is Paradoxology by Elevation Worship. For Phil, it's a much more unexpected choice—a Willie Nelson gospel record that arrived in his mailbox at exactly the right moment in life. Neither story is really about genre. They're about timing. The Album That Changed My Creative Perspective When Paradoxology was released, I had just moved to Chattanooga. Life was changing. I was beginning to take JW Creates seriously as more than just a hobby, and creatively I was looking for examples of people doing things differently. That's where Paradoxology comes in. Paradoxology is so fascinating because it isn't simply the music. It's the creative process behind it. Elevation Worship took songs that had already become successful on their previous album and stripped them down into something completely different. Instead of trying to make everything bigger, louder, and more polished, they intentionally removed the excess. The visual album follows the same philosophy. Long, uninterrupted camera movements. Minimal editing. Beautiful lighting. Intentional imperfections. Even the album artwork tells the story. Rather than relying on perfectly clean digital graphics, the artwork was physically printed to capture the texture and imperfections that only real materials can create. As someone who spends his days thinking about design and storytelling, that kind of intentionality was incredibly inspiring. It reminded me that creativity isn't always about adding more. Sometimes it's about stripping things back until only what matters remains. The Album That Found Phil Phil's story couldn't be more different. Years before returning to church, he and his wife received a sampler from a record label they were working with. Buried inside was a Willie Nelson gospel album. Neither of them were looking for faith. Neither of them were searching for Christian music. They simply loved the songs. Years later, Phil still points to that record as one of the unexpected moments that helped lead him back to faith. It's a reminder that great music has a funny way of finding us before we're looking for it. The Albums We Actually Remember One of the biggest conversations we had during this episode had nothing to do with faith at all. It was about the way we consume music today. Streaming has made music more accessible than ever, but it's also made it incredibly disposable. We build playlists. We save singles. We skip songs after thirty seconds. Very few of us spend a month living with an album anymore. That's one of the reasons we're excited about launching the Judged by the Cover Record of the Month Club later this year. The goal isn't to tell people what they should like. The goal is simply to slow down and experience albums the way they were originally intended—as complete works of art. Because sometimes your favorite song isn't the single. Sometimes it's track nine. Creativity Deserves a Second Life One final idea from the episode has stuck with me. As creatives, we often feel like once a project is finished, we have to move on. But Paradoxology challenged that idea. Instead of abandoning a successful album, Elevation Worship revisited it. They reimagined it. They gave it a second life. That isn't limited to music. Designers can revisit old branding projects. Filmmakers can expand short films. Writers can rewrite old ideas. Artists can create new work from existing work. Sometimes your next great project isn't something completely new. Sometimes it's seeing an old project with fresh eyes. What Albums Shaped You? We'd love to know. What album immediately takes you back to a specific season of life? It doesn't have to be your favorite record. Just the one that changed something in you.

There’s something special about discovering music completely blind. No algorithms. No playlists. No “fans also like.” Just you, a record bin, and a cover that catches your attention enough to take a chance on it. That’s exactly what happened on the latest episode of Judged by the Cover. Every once in a while, Phil and I like to do what we call a “music discovery” episode — where we head to local record stores, dig through crates, and buy an album purely based on the artwork and packaging. No research. No previews. No idea what the music sounds like. Just curiosity and cover art doing what great cover art is supposed to do. This time, the album was Cold Roses by Ryan Adams & The Cardinals. And man…we found another winner. A Record Convention Find I originally picked this record up during a local record convention hosted by Yellow Racket Records here in Chattanooga. Vendors from all over the area showed up with crates full of vinyl, CDs, posters, merch, and all kinds of musical treasures. The moment I pulled Cold Roses out of the bin, I knew there was something different about it. The cover immediately stood out because of the texture. This wasn’t just a flat printed jacket. The artwork had this embossed, almost vintage pressed-metal feel to it. Phil compared it to old decorative ceiling tiles you’d see in historic southern buildings or drugstores, while I thought it almost looked like old leatherworking textures or hammered copper craft art from when we were kids. Whatever it was, it felt premium. That tactile experience mattered. And honestly, it’s a perfect reminder that album art is more than just decoration. Great packaging creates curiosity. It invites people into the music before they ever hear a note. “This Sounds Like The Grateful Dead…” One of my favorite moments from the episode happened about 15 seconds into the first track. Phil immediately looked over and said, “This sounds like the Dead.” At that point, we still barely knew what we were listening to. As it turns out, that instinct was dead on. Released in 2005, Cold Roses was heavily inspired by The Grateful Dead and Jerry Garcia. Ryan Adams had recently recovered from a serious wrist injury after falling off a stage in 2004, and during rehab he reportedly relearned guitar by playing along to artists like Black Sabbath while diving deep into Dead-inspired improvisation and songwriting. And you can absolutely hear it. The record has this warm, organic, live-band energy that feels timeless. Loose in the best possible way. The kind of album that sounds less like a polished studio production and more like a group of musicians genuinely vibing together in a room. Which…is basically what happened. The album was reportedly recorded and mixed live in the studio, and honestly, you can feel that while listening. The Experience of Physical Music One thing we kept coming back to throughout the episode was how different this experience felt compared to streaming. We literally sliced open the plastic wrap, dropped the needle on the turntable, sat back, and experienced the album together for the first time. That matters. Streaming is convenient. I use Apple Music all the time. Phil uses Spotify. But there’s something about physically interacting with music that changes the experience completely. Holding the artwork.Reading the liner notes.Looking at the inserts.Hearing the crackle of the vinyl.Listening to a full album front-to-back instead of skipping tracks. It slows you down in the best possible way. And honestly, I think Cold Roses is one of those albums that benefits from that kind of listening experience. Why This Cover Art Works As someone who designs cover art for musicians and podcasters through JW Creates, I couldn’t stop thinking about why this album pulled me in so quickly. The design itself is actually pretty simple. A deep blue background, a rose in the center, vintage-inspired typography, and beautiful texture work. But together, it creates an emotional feeling before the music even starts. That’s powerful design. What’s also interesting is how differently the artwork translates digitally versus physically. On vinyl, the embossed texture and glossy finish completely elevate the experience. But when you pull the album up on a streaming platform, a lot of that magic disappears. It’s a good reminder for artists creating cover art today. You have to think about where people are going to experience your music. Is your audience mostly streaming? Will they see your cover as a tiny thumbnail on a phone? Or are you creating physical products where texture, packaging, and materials become part of the experience? Those decisions matter more than ever. The Joy of Musical Discovery One of the coolest things about these “music discovery” episodes is realizing how much incredible music is still out there waiting to be found. Cold Roses came out over 20 years ago. Yet for us, it felt brand new. That’s one of the beautiful things about music. Great albums don’t expire. They just wait for new listeners to discover them. And honestly, that’s part of why I love physical record stores so much. You never know what you’re going to stumble across. Sometimes all it takes is a great cover. Could We Start an Album of the Month Club? During the episode, Phil and I started throwing around an idea that honestly sounds more fun the more we think about it: What if there was an “Album of the Month Club”? Kind of like a book club…except everybody listens to the same record for a month and then gets together to talk about it. The artwork.The lyrics.The production.The stories behind the music. The physical packaging.The listening experience. Honestly, that sounds like a blast!! So if that’s something you’d be interested in, let us know. We may actually make it happen. Final Thoughts This episode ended up becoming about way more than just Ryan Adams or Cold Roses. It became a conversation about slowing down., experiencing music together supporting local record stores, and rediscovering the joy of finding music through curiosity instead of algorithms. And honestly, I think we all need a little more of that. If you haven’t listened to the episode yet, go check it out on YouTube, Spotify, Apple Podcasts, or wherever you listen to podcasts. And if you’ve got a favorite album discovery story — especially one you found purely because of the cover art — I’d love to hear it.

A real story about new podcast cameras, technical issues, and pushing through a failed recording... You ever invest in something you’re convinced is going to take your content to the next level… and then it completely falls apart the very first time you use it? Yeah… that was me recently. For the Judged by the Cover podcast, I decided it was finally time to level up our video setup. Up to this point, I had been running a single DSLR-style camera, which got the job done, but I knew there was another level we could reach visually. So I made the jump to a three-camera setup using OBSBOT PTZ cameras. 4K video, AI tracking, full pan/tilt/zoom control, the whole deal. In my head, this was THE upgrade. The thing that would give us more flexibility, more engaging visuals, and a more polished, professional look across the board. And honestly, the timing felt perfect. We were recording an episode on Thriller, one of the most iconic albums of all time, and with a new Michael Jackson movie on the horizon, it felt like a real opportunity to reach new listeners and viewers. Everything about it felt like it was lining up exactly the way it was supposed to. At least… on paper. The Setup (AKA: The First Red Flag) The first sign that things might not go as smoothly as I imagined came during setup. What I thought would be a quick dial-in turned into nearly an hour of adjusting camera angles, tweaking zoom levels, and trying to get lighting to cooperate. Even then, I wasn’t too worried. New gear always comes with a bit of a learning curve, so I figured once we hit record, we’d settle in and everything would be fine. We hit record… and within the first five minutes, everything started to unravel. The main camera threw an error almost immediately, and the worst part was not even knowing if it was still recording. At the same time, the two auxiliary cameras decided to show off just how “smart” they really were. These cameras have AI tracking features that can be triggered by hand gestures, which sounds great in theory, until you realize both me and Phil naturally talk with our hands the entire time. So instead of holding clean, consistent shots, the cameras were constantly trying to adjust and track movement mid-conversation. At one point, the main camera even tilted downward and started tracking what looked like our knees, which was about as helpful as it sounds. WHAT ARE WE FOCUSING ON HERE...? AND YES THIS IS A SCREENSHOT FROM THE ACTUAL RECORDING.... On top of that, there were lighting shifts happening throughout the recording that I didn’t even fully notice until I got into the editing process later. So now I’m sitting there, trying to have a meaningful conversation about one of the greatest albums ever made, while also mentally troubleshooting three cameras that are doing their own thing in real time. It pulled me completely out of the moment. The Moment It Almost Fell Apart We actually had to pause and take a break...not because we ran out of things to talk about, but because the technical issues were becoming too distracting to ignore. I was frustrated, scatter-brained, and honestly a little embarrassed. This episode was supposed to be a step forward for us, something that reflected growth and progress. Instead, it felt like everything was working against that in real time. There was definitely a moment where I considered scrapping the whole thing and starting over. But Phil, being Phil, kept it simple. He wasn’t overly phased by any of it and just said, “Let’s push through.” No overthinking, no spiraling, just keep going. And that shift in perspective made all the difference. We leaned into the situation a bit, made a few jokes about the chaos, and kept the conversation moving. And underneath all the technical issues, the actual content of the episode was still strong. That’s what mattered. Done Is Better Than Perfect (For Real This Time) From the very beginning of Judged by the Cover, I’ve had to constantly remind myself that done is better than perfect. As someone who tends to overthink, it’s not hard for me to find reasons why something isn’t quite ready to be released. This episode just forced me to live that out in a very real way. Was it perfect? Not even close. We ended up only using the main camera angle, the AI tracking goes rogue a couple of times, and there are definitely moments where you can tell I’m a little distracted by what’s happening behind the scenes. But we released it anyway. Because at the end of the day, the conversation still had value. The topic still mattered. And the imperfections didn’t take away from that nearly as much as I thought they would in the moment. Looking back, it honestly wasn’t as bad as it felt while we were recording. It didn’t match the vision I had when I bought the cameras, but it also wasn’t a complete disaster. At the time of writing this, the episode is performing pretty normally. No major drop-off, no negative feedback...just another episode out in the world doing its thing. And that in itself was a good reminder. What This Actually Taught Me What this experience really reinforced for me is that new gear doesn’t automatically create better content. It just introduces a new set of variables, and usually a new set of problems to work through. There’s a learning curve that comes with it, no matter how advanced the equipment is. I also learned pretty quickly that not every “smart” feature is actually helpful in a real-world setting. Those AI tracking and gesture controls sounded great, but for our setup, they created more problems than they solved...so they’re off now. More than anything though, this experience reminded me not to take all of this too seriously. At the end of the day, this is a podcast. It’s meant to be fun. It’s me and my friend Phil sitting down and talking about music, cover art, and albums we love. We’re not saving lives here. And when the technology starts to overshadow the reason you started in the first place, it’s worth taking a step back and resetting that perspective. Keep Showing Up If you’re a podcaster, or really any kind of creator, and you’ve had an experience like this, where things just don’t go the way you planned, don’t let that be the thing that makes you quit. That moment, as frustrating as it is, is often where the most growth actually happens. It might hit your pride a little bit, but it also teaches you what you need to do better next time. Take the lesson, make the adjustment, and keep moving forward. I’m in a season right now where showing up consistently matters, and this episode was part of that. It wasn’t perfect, but it was done...and sometimes that’s exactly what needs to happen to keep the momentum going. Thinking About Starting a Podcast? And if you’re thinking about starting a podcast, or maybe you’ve already started and hit a wall like this, just know you’re not alone in it. This kind of stuff happens more than people talk about. That’s a big part of why communities like Podnooga exist, to help people push through those moments and keep creating, even when things don’t go according to plan. Because at the end of the day, the only way this really fails… is if you stop.

When people think of Thriller, they usually think about the music first...and for good reason. It’s one of the most successful and culturally impactful albums of all time. But at Judged by the Cover , we’re here to talk about something just as important: The image. A Cover Built on Confidence At first glance, the Thriller  cover feels simple. Michael Jackson, dressed in a white suit, reclined in a poised, almost effortless position. Clean background. Minimal distractions. A soft glow that almost gives him a halo. But the simplicity is what makes it powerful. There’s a quiet confidence in the image. It doesn’t scream for attention—it commands  it. This isn’t an artist trying to prove something.This is an artist who already knows. And that pose...the way he’s positioned, relaxed but in control, tells you everything you need to know before hearing a single note. The Story Behind the Shot The cover was photographed by Dick Zimmerman , a photographer known for his polished celebrity work. What’s fascinating is how the look came together. Instead of selecting a wardrobe from a rack of styled options, Michael Jackson chose to wear Zimmerman’s own white suit . Same build, same fit. ..it just worked. That decision adds an unexpected layer to the image. Something that feels iconic and meticulously planned… was, in part, instinctive. And that instinct paid off. The result is one of the most recognizable album covers of all time. More Than a Photo — A Persona Everything about this cover reinforces the identity Michael Jackson was stepping into during this era. Polished, but approachable Stylish, but not overdone Controlled, but still human There’s also something cinematic about it, which aligns perfectly with the direction of the album itself. This wasn’t just music, it was an experience. A visual and sonic world. You can feel that even in a still image. The Pose: Familiar, But Elevated Here’s where things get really interesting. That iconic Thriller  pose?It wasn’t entirely original. In fact, several artists around the same time used a very similar reclining, fashion-forward pose on their album covers. Teddy Pendergrass – It’s Time for Love  (1981) Lionel Richie – Lionel Richie  (1982) Luther Vandross – Give Me the Reason  (1986) Alfonzo - [1982] All of them feature: A relaxed, reclined posture Clean wardrobe styling A focus on presence and personality So the question becomes: If the pose wasn’t unique… why does Thriller  stand above the rest? Execution Is Everything The difference isn’t the concept. It’s the execution. Where other covers feel like portraits… Thriller  feels like a statement. The lighting is softer and more intentional The styling is timeless instead of trendy The expression feels effortless, not forced The composition gives the image room to breathe There’s also a level of precision  that matches the music itself. Every detail feels considered, even when it appears natural. And that’s what elevates it. Because in design, and especially in album art, familiar ideas can still become iconic when they’re executed at the highest level. Final Thoughts Thriller  is often described as a perfect album. And while the music absolutely lives up to that reputation, the visual side deserves just as much credit. Because this cover proves something we talk about all the time: A great album deserves a great image. And when those two things come together at the highest level…you don’t just get a release. You get a legacy.

Over the past year, we’ve had the opportunity to connect with, learn from, and build alongside some incredible podcasters here in Chattanooga. Through our events, conversations, and collaborations, one thing has become clear: Podcasting is growing. Community matters. And new voices deserve to be heard. But as we’ve continued to look at the podcasting landscape, both locally and beyond, we’ve noticed something… missing. An entire category of voices has been overlooked. Underrepresented. Undervalued. Dogs. Today, we’re excited to officially announce a new chapter: Podnooga is now Pawdnooga. Why Dogs? Why Now? The data doesn’t lie. Dog-focused content is on the rise. From viral videos to social media accounts with millions of followers, dogs have consistently proven that they know how to capture attention, tell stories, and connect with audiences in a way that’s authentic and engaging. And yet… when it comes to podcasting? They’ve largely been left out of the conversation. No microphones. No platforms. No opportunities to share their perspective on the world around them. We believe that needs to change. A Voice Worth Hearing At Pawdnooga, we believe every dog has a story to tell. Whether it’s: A deep dive into the daily struggle of waiting for food to hit the bowl Breaking news on neighborhood squirrel activity Long-form conversations about the emotional complexity of being called a “good boy” These are stories that matter. More importantly, these are perspectives that bring something new, honest, and often much-needed to the podcasting space. Because sometimes… the best insights come from the ones who aren’t overthinking it. Building a Community (Again) If you’ve been part of Podnooga, you know our heart has always been about one thing: Community. Creating a space where people can connect, collaborate, and grow together as podcasters. That mission isn’t changing. It ’s expanding. With Pawdnooga, we’re setting out to build that same kind of collaborative, supportive ecosystem—but this time, f or dogs. A place where: First-time pupcasters can learn how to find their bark Experienced show hosts can collaborate across breeds and backgrounds Creators can share resources, ideas, and (when necessary) treats Because whether you walk on two legs or four… building something meaningful is always better together. What This Means Moving Forward As Pawdnooga, you can expect: New shows led by some of the most promising voices in the canine community Educational resources tailored to aspiring dog podcasters Local events designed to bring Chattanooga’s dog creators together Continued collaboration with brands, creators, and businesses who believe in what we’re building We’re committed to creating a platform where dogs aren’t just featured… They’re leading the conversation. Join the Movement This is just the beginning. Whether you’re a lifelong dog lover, a curious listener, or a dog who’s been waiting for your moment—we’d love for you to be part of what we’re building. Because at the end of the day, Pawdnooga isn’t just about podcasting. It ’s about giving a voice to those who’ve always had something to say… Even if it mostly sounds like barking. Welcome to Pawdnooga.Let’s build something together.

Welcome back to another episode of the Judged by the Cover podcast! In this episode Phil and I are going back to the roots of why this show started in the first place — talking about iconic album cover design. Sometimes we explore classic records, and other times we dig into albums that one of us simply loves. This time around, Phil brought an album that he has been a fan of for years: Ghost in the Machine by The Police . I’ve known about the band and heard their hits on the radio, but I never really took the time to dig into this album or its artwork. As soon as we started researching it though, it became clear that this cover is a perfect example of how powerful simple design can be. The Police – Ghost in the Machine Released in October of 1981, Ghost in the Machine  was the fourth studio album by The Police . At this point the band was already hugely popular. The trio of Sting, Andy Summers, and Stewart Copeland had built a reputation for blending post-punk energy with reggae-influenced rhythms. Their early records were very raw and straightforward — just guitar, bass, and drums. But this album marked a bit of a transition. The band started incorporating synthesizers and horns, adding new textures to their sound while still keeping the tight musicianship they were known for. The result was a massive success. The album reached #1 on the UK charts and #2 on the Billboard 200, proving that their evolving sound connected with a huge audience. Where the Title Came From One of the interesting parts of this record is the origin of its name. The title Ghost in the Machine  comes from a philosophical concept that explores the relationship between the human mind and the physical body. The idea asks whether consciousness is something separate from the mechanical system of the body — almost like a “ghost” operating inside a machine. Sting pulled inspiration from this concept while writing the record, and that theme of humanity interacting with technology ended up influencing the album artwork as well. When the Band Couldn’t Agree on a Photo Like many bands working on a new project, The Police initially tried to decide on a photograph for the album cover. And like many creative projects involving multiple people… they couldn’t agree. Instead of forcing a compromise, the band brought in designer Mick Haggerty to develop a concept. That decision led to one of the most recognizable album covers of the early 80s. The 7-Segment Display Design If you’ve ever used a calculator or seen an old digital alarm clock, you’ve seen what’s called a 7-segment display . These displays create numbers and letters using seven illuminated segments. Haggerty used this visual language to create the album artwork. The cover features a black background with red digital-style icons representing each member of the band. Each portrait is built from segmented shapes that resemble those early electronic displays. Even the band members’ hairstyles are represented using those segments. It’s simple. It’s abstract.And it perfectly reflects the album’s theme of technology and humanity blending together. Back in 1981 this style felt incredibly futuristic. Digital displays were still new technology, so the design gave the album a cutting-edge look. A Hidden Detail Inside the Packaging One of my favorite parts of this design is that the concept doesn’t stop at the front cover. Inside the album sleeve, the artwork expands into a computer motherboard filled with circuitry. Hidden within that circuitry are images of the band members. In other words — the band themselves become the “ghosts in the machine.” It’s a clever continuation of the concept and a great example of how thoughtful design can extend across the entire album package. Why This Cover Still Works Today More than forty years later, the Ghost in the Machine  cover still stands out. And the reason is surprisingly simple. The design is clean, conceptual, and instantly recognizable. There’s no elaborate photo shoot. No complicated imagery. Just a strong idea executed well. It ’s proof that some of the most memorable album covers ever created come from great concepts rather than complex visuals. What Artists Can Learn From This One of the biggest lessons from studying album covers like this is that cover art doesn’t always need to be a photograph of the artist. In fact, some of the most iconic covers in music history are abstract or conceptual. Instead of asking “What photo should we use?”  it can be much more powerful to ask: What is the idea behind this music? Once you identify that idea, a designer can help translate it visually. That’s one of the things I love most about creating cover art — taking the story or emotion behind a project and bringing it to life through design. Sometimes that means photography. Sometimes it means something entirely different. And sometimes it leads to a design that people are still talking about decades later. Final Thoughts After digging into this album and the story behind the artwork, I definitely have a new appreciation for Ghost in the Machine . It ’s a great example of how music, concept, and design can all work together to create something memorable. If you’ve never listened to the record, it’s definitely worth checking out. And next time you see the cover, take a minute to appreciate the design behind it. That’s it for this episode of the Judged by the Cover podcast. If you have suggestions for album covers you’d like us to explore, drop a comment or send me an email at info@jwcreates.com . Thanks for hanging out — and we’ll do this again very soon.

Podcasts live or die in the scroll. When someone is browsing shows in apps like Apple Podcasts or Spotify, your cover art is often the very first thing they see before deciding whether to learn more about your show. In many cases, it’s the only visual element representing your podcast in crowded directories full of competing content. You can have incredible audio, great guests, and a well-produced show, but if your artwork doesn’t catch someone’s attention while they’re scrolling, they may never give your podcast a chance. That’s why podcast cover art isn’t just decoration—it’s a critical part of how your show is marketed and discovered. If you’ve never revisited your cover art since launching your podcast, or if you’re unsure whether it’s really working for you, here are a few signs it might be time for an update. 1. You Can’t Read It Clearly on Your Phone Podcast artwork is typically designed at a large size, but listeners almost never see it that way. Instead, it’s displayed as a small thumbnail while people scroll through podcast apps on their phones. When artwork is reduced to that size, design decisions that seemed fine during creation can suddenly become difficult to read or recognize. If your podcast title disappears, blends into the background, or requires someone to squint to figure out what it says, that’s a problem. Listeners usually won’t take the extra time to decode a cover image—they’ll simply keep scrolling. Effective podcast cover art prioritizes readability and clarity, making sure the title and main elements are instantly recognizable even at a small size. 2. Your Show Has Evolved… But Your Cover Hasn’t Many podcasts grow and change over time. You may have refined your niche, improved your production quality, or shifted your focus as you learned more about your audience. These changes are a natural part of building a show, but they often leave the original cover art feeling disconnected from what the podcast has become. If your artwork still reflects the earliest version of your show, it might no longer represent the level of professionalism or clarity you’ve achieved. A podcast that has matured in its content, direction, and audience deserves visuals that reflect that growth. Updating your cover art can help align your branding with the podcast you’re producing today, rather than the one you launched months or years ago. 3. There’s Too Much Going On One of the most common challenges in podcast artwork is trying to include too much information. Multiple fonts, busy backgrounds, extra graphics, and long titles can quickly create visual clutter that makes it difficult for viewers to process what they’re seeing. Good design prioritizes simplicity and focus. When a cover image tries to communicate too many ideas at once, the core message often gets lost. Some of the most effective podcast covers succeed precisely because they are simple and intentional. They focus on a clear title, a strong visual element, and a design that remains readable and recognizable even at smaller sizes. 4. It Looks Like Every Other Podcast Spend a few minutes browsing podcasts in your category and you’ll probably notice certain visual trends repeating again and again. Microphones, headphones, generic gradients, and stock photos are common design choices that many creators gravitate toward. While there’s nothing inherently wrong with these elements, relying on them too heavily can make your podcast blend in with dozens of other shows. When artwork feels generic or interchangeable, it loses its ability to stand out. Distinctive design helps listeners remember your show and recognize it quickly when they encounter it again in their feed. 5. It Feels DIY (Even Though Your Show Isn’t) Most podcasts begin with a DIY mindset. Creators experiment, learn new tools, and figure things out as they go. That’s part of the fun of starting a podcast. However, many shows eventually reach a point where the content has become much more polished than the visuals representing it. If you’ve invested time and energy into improving your equipment, refining your format, booking better guests, or growing your audience, your cover art should reflect that same level of care. Design plays a powerful role in shaping first impressions. Before someone hears a single word of your show, your artwork is already communicating something about the quality and professionalism of your podcast. What Makes Podcast Cover Art Clickable? Effective podcast cover art does more than simply look good—it communicates quickly and clearly. When listeners are scanning through dozens of shows, they’re making snap judgments based on visual cues. Strong artwork helps your podcast stand out by making those cues easy to understand. Clear titles, strong contrast, and a focused visual identity all contribute to artwork that performs well in podcast directories. The goal is to create something that is immediately readable, visually distinctive, and aligned with the subject of your show. Through my design work and the many conversations I’ve had exploring album artwork on Judged by the Cover, one thing has become clear: visual presentation influences perception more than most creators realize. Podcasts may be an audio medium, but they exist in a very visual environment when it comes to discovery. Final Thought If your podcast has grown over time but your cover art hasn’t evolved with it, it may be worth taking a step back and reevaluating how your show is being presented visually. As podcasts develop, hosts often improve their content, refine their message, and invest in better production quality. When that happens, the artwork representing the show should reflect that same level of growth and professionalism. Great podcasts deserve cover art that not only looks good, but also communicates clearly and stands out in crowded podcast directories. Thoughtful, intentional design can make a meaningful difference in how listeners perceive your show and whether they decide to give it a try. If you’re curious whether your current cover art is doing its job, feel free to send it my way. I’m always happy to take a look and offer some honest feedback.

I’m sad that I didn’t grow up during the hey day of vinyl records. What an experience it must have been to go to the store and find the record for the artist/song that you heard on the radio. To pick it up, to feel and study the art work and packaging, and read every single word on the cover. Our modern format of buying and discovering music doesn’t even compare! One of the major things that gets lost in our modern music buying, is the liner notes. Liner notes were usually the inner sleeve that protected the record in the main sleeve. The liner notes would include the lyrics, who wrote the song, and possibly who played on the song. Sometimes there would also be stories behind the music and the process of writing and recording the album. This information isn’t all that important to enjoy the music, but it helped build a connection with fans and let them feel like they were getting a personal connection with the band and the music. In todays world, we consume music through streaming apps, YouTube, and other social sites, so we have lost the beauty and art of the liner notes. JW’s Notes is a play on the “Liner Notes” idea, and is going to be a place for me to share some of my insight and knowledge of graphic design, album covers, branding and more. This will also be a space for you learn about my design process, learn about the behind the scenes details of some of my favorite projects, and will also be the new home for the visual content for the Judged by the cover podcast. You are probably thinking that sounds like a blog, and you’re right, but the term “blog” didn’t feel right for this content. You never know what might make it my version of the “Liner Notes” so make sure you subscribe below to stay in the loop. Also make sure you share this with friends and family that are interested in graphic design, music, album cover design, and whatever else I decide is worth talking about.

Intro Welcome to the first episode of the Judged by the cover podcast. Today we are talking about the album cover that started this thing I call JW Creates. Now this isn’t a cover that I created, but it was the cover that made me want to pursue designing album covers. Let’s begin. I mentioned that this is the album cover that started JW Creates….because when I saw the behind the scenes video of how the designer made the cover my mind literally exploded. It was my lightbulb turning on moment and I knew this was something I want to do. I knew that what I wanted to make album covers, and not just make them because they’re cool, but I wanted to tell a story about a song or an album through great design. I will almost guarantee that you have never seen this album cover, or heard of this album, but The album title is Minorville, by Derek Minor. Derek minor, Minorville….you see the play on the artist name…? It will make sense in a minute for those of you that are listening to the audio only form of this podcast, because I’m going to break down the design and try to explain what the album cover looks like. Design The album cover is a grayscale, or gray in color. The main portion of the cover is a side profile of the artist face, so you have a mans face, and it’s made out of these wood building cutouts, that look like a cityscape. That’s the main element of the cover, but you also have in the top left hand corner the artist name and the album name in a simple white font. So from a design aspect, there’s not a lot of details to discuss…and you may be thinking that this is kool, but not all that exciting why did this turn you on to making album covers…? So let’s talk about my favorite part….the behind the scenes video. Before the albums release in 2013, the artist and label did a lot of promotion and hype for this album. This was the fourth studio album for Derek minor, and he was also going through a name change from Pro to Derek Minor at the time, so I think it was necessary to really promote the heck out of this album. One of these promotional videos showed the behind the scenes making of the album cover. The album was made by a designer that goes by the name Invisible Creature. This guy has been making album covers since 2000, and has done album covers for the Foo Fighters, Lecrae, Young the Giant, and Alice In Chains, to name a few….so not some no name designer. What I loved so much about this video, was seeing the process behind the making of this album cover. It starts with the designer doing a layout for the buildings, and then shows clips of another guy who I think Is the designers uncle cutting out blocks of wood, and shaping them into these different buildings. If you can see the cover you will see the different shapes and sizes, like a real city scape. They even went as far as cutting lines and shaping the woodblocks in a way that shows some architectural features. From there they go into what looks like an attic, where they have to put together this city scape. So you see them lining up all the pieces, make sure the spacing is all correct. Once the cityscape is assembled, they start playing with the light, moving it around to get the right shadows. Then they do the same thing using fog to get just the right feel. So for this rather simple “design”….There was a TON of work that went into it… and really what they did was create “MINORVILLE”. Seeing this hands on process was the Lightbulb moment. The holy crap, THIS IS WHAT I WANT TO DO…..I want to tell the story of an album or a song through great design. So there you have it, this is the album cover that launched JW Creates in my mind and heart, and to this day looking at this album cover makes me excited about what I get to do….which is tell other peoples stories, through design So what do you think of this album cover for Minorville…? Let me know in the comments below or share your thoughts with me at info@jwcreates.com . That’s it for this episode, thanks for checking out the post, you can also listen to this Podcast on your favorite podcast apps. Also make sure you hit those like and subscribe buttons, and share this with at least one friend who likes music or great design.