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Starting a podcast can feel overwhelming, especially when you fall down the rabbit hole of gear videos, reviews, and people arguing online about what microphone is “right.” Here’s the truth - There is no perfect setup, and buying the most expensive equipment will not magically make your podcast good. I’ve worked on my own shows, helped other creators launch, and spent plenty of money figuring out what actually matters and what doesn’t. What I’ve learned is simple: Content and consistency will take you further than gear ever will. Good equipment should enhance a solid show, not rescue a weak one. This guide is for DIY podcasters who are either: just starting from scratch, or ready to step into something better than the basics. I’ll show you what I personally use, plus budget options and premium upgrades depending on where you are in your journey. My goal is to help you feel confident about what to buy — and avoid wasting money on “industry standard” items you don’t actually need. USB vs XLR (Quick Beginner Explanation) You’ll see these terms everywhere. USB mics  plug straight into your computer or phone. They’re convenient and simple. XLR mics  require an interface or mixer, but they typically provide: better sound quality more control fewer weird connection problems easier upgrading long term If convenience is king → USB is fine. If you want stronger quality and room to grow → XLR is worth it. Microphones Josh's Pick: Rode PodMic This mic is one of the best values in podcasting. I chose it because it delivers sound similar to the famous podcast microphones you see everywhere, but for less than half the cost . The build quality is excellent, it looks professional on camera, and it’s extremely easy to set up. What problem it solved Immediately got more consistent, fuller audio compared to the cheaper mics I started with. Who it’s for Honestly? Almost anyone. Beginner to pro. Tons of shows use these. Downsides None worth worrying about. Should a beginner buy it? At around $100, it might feel like a jump, but you will not regret it at any stage. Budget Option: Wireless USB-C Mics These are great if you’re recording directly into your phone or want something ultra portable. They’re affordable and will still sound noticeably better than your built-in device mic. Tradeoffs You have to keep them charged You get less control over shaping the sound Not as rich as XLR setups Who should buy this Brand new creators making content straight from their phone or laptop. When you’ll outgrow it When you want more professional control and flexibility. Premium Option: Shure SM7B This is the iconic podcast look and sound. Who it’s for People who want top-tier, industry-recognized gear. What it improves You get connection flexibility and built-in tools depending on the model. Would I recommend it to start? No. You can achieve very similar results for far less money. Future proof? Absolutely. Interfaces If you’re going XLR, this is how your microphone talks to your computer. My Pick: Behringer UMC404HD This thing is a workhorse. Four inputs, great sound, easy connection, and usually around $139. It’s one of the best values out there. What problem it solved Recording multiple hosts/guests became simple, and my audio quality jumped immediately. Who it’s perfect for Anyone who wants flexibility with multiple mics while keeping setup beginner friendly. Learning curve You’ll need to understand input/output selection in your software, but it’s not hard. When to buy Any stage, especially if you have guests. Budget Option: Behringer UMC202HD Almost the same as my unit, just two inputs instead of four . Perfect for one or two hosts. You only outgrow this when you need more channels. Premium / All-In-One: Rodecaster Pro II This is for people who want everything in one box. You ca n record straight to it, adjust audio, and avoid messing with computer routing. What frustrations it removes No complicated setup. Fewer ways to plug something in wrong. Beginner friendly? If you want simple and have the budget, yes. Limit You’re capped at four mic inputs. Headphones My Pick: Sony MDR-V6 Comfortable, reliable, and they sound great without being crazy expensive. I can also replace parts when they wear out. What problem it solved I can isolate the mix and make sure everything sounds right while I’m recording. Who it’s for Any level of podcaster who wants real monitoring. When to buy When you’re serious about improving quality. Budget Option: Apple Wired EarPods Super accessible, connect to almost anything, and honestly impressive for the price. Tradeoffs Some people find them uncomfortable. Who should buy Phone-based creators or beginners who want better sound than built-in phone microphone. Premium Option: RØDE NTH-100M High quality, very comfortable, and includes a boom mic. Should beginners buy it? Probably not unless you love the form factor and have the money. Future proof? Yes. Accessories That Matter More Than You Think Here’s something people don’t expect me to say: Upgrading cables  has made a bigger improvement in reliability for me than upgrading microphones. Good cables mean: fewer random noises fewer failures less troubleshooting more confidence Other smart adds: pop filters solid boom arms basic room softening (carpet, curtains, furniture) You don’t need a perfect studio. You just need fewer reflections and clean signal flow. What Guests Tell Me One of my favorite compliments I’ve received is that my setup feels clean and professional without being intimidating . People who were nervous about being recorded ended up relaxing quickly, and that leads to better conversations. That matters more than flashy equipment. Final Encouragement: Just Start If you’re nervous, use what you have. Your phone, a pair of wired headphones, and hit record. Improve each episode. Stay consistent. Learn as you go. Because in the long run, the shows that grow aren’t the ones with the best gear… They’re the ones that keep going.

Every year on Judged by the Cover , we take an episode to look back at the music, design, and physical releases that stood out most. The Best of 2025 episode was all about reflection — not just on great albums, but on the artwork, packaging, and cultural shifts that shaped the year in music. Is the “Song of the Summer”… Gone? We started the episode with a question that felt weirdly heavy: Did 2025 even have a true “song of the summer”? There used to be one song every year that you couldn’t escape. It didn’t matter if you listened to pop, rock, or country — you heard it at the grocery store, at the pool, in commercials, on the radio, everywhere. This year? Not so much. Billboard officially named “Ordinary” by Alex Warren  as the Song of the Summer, and sure, we’d heard it before. But it didn’t feel like a shared cultural moment. It felt more like, “Oh yeah… that song.” We kept coming back to the same thought:Streaming and social media have put all of us in our own little music bubbles. Algorithms feed us what we already like, and as a result, we don’t have as many of those big, collective music moments anymore. It’s cool that everyone gets a personalized soundtrack. But yeah… we kind of miss the days when one song ruled the world for a few months. Our Favorite Album Covers of 2025 Phil’s Pick: Buddy Guy — Ain’t Done With the Blues You don’t expect someone pushing 90 years old to drop one of the boldest-looking covers of the year, but Buddy Guy did exactly that. The cover is simple, but it hits hard: A blazing red background A dramatic, almost silhouetted portrait Deep shadows and rich contrast It feels confident. Timeless. Unapologetic. There’s no over-designing, no trendy gimmicks — just a powerful image of a legend who clearly still has something to say. The design matches the spirit of the music perfectly. Josh’s Picks I had a harder time picking just one this year, so I cheated a little. Mammoth — The End This one is loud in the best way. Bright yellow background. A figure engulfed in flames. Gritty textures that make the whole thing feel chaotic and intense. It leans into that apocalyptic tone the album title suggests, and it absolutely jumps out at you in a sea of tiny digital thumbnails. Mammoth’s previous covers leaned more into fine-art territory, so this one feels like a shift — but it’s still bold, memorable, and unmistakably rock. Andy Mineo — The And Completely different energy here — minimal, conceptual, and layered with meaning. At first glance, it’s mostly white space with repeated text variations of “The End?” scattered across the cover. But once you listen to the album, it clicks. The project came after a long gap and a big career transition, and the cover reflects that uncertainty and questioning. It’s a great example of design that doesn’t scream for attention, but rewards you when you slow down and connect the dots. Best Physical Packaging of 2025 If you think physical music is dying, 2025 had some releases that would change your mind real quick. Phil’s Pick: Fine Young Cannibals – 40th Anniversary Reissue This packaging is just fun. The whole thing is designed like an elevator: Brushed metal-style exterior Track listing laid out like elevator buttons Interior artwork that looks like elevator doors opening It’s clever without feeling cheesy, and it turns the album into more than just something you listen to — it becomes an object you explore. That kind of thought and creativity is exactly what makes physical releases worth owning. Josh’s Pick: Sleep Token — Even in Arcadia Sleep Token already has this mysterious, almost mythic vibe as a band, and this packaging leans all the way into it. The vinyl artwork is dark, cinematic, and surreal — deep pinks, heavy blacks, and this haunting landscape that feels more like a movie still than an album insert. When you open it up, the full-spread artwork feels like something you could frame. It’s moody, beautiful, and totally in line with the band’s identity. What Stood Out to You? Those were our picks, but we know we only scratched the surface. What album cover blew you away this year? What physical release made you actually want to buy music again?What artist did you discover out of nowhere? We’re always looking for new music and great design to talk about, and your recommendations often lead to our favorite finds. And if you’re an artist thinking about your next release — remember, the visuals matter just as much as the sound. A strong cover and thoughtful packaging can turn a good project into an unforgettable one.

If I had to describe 2025 at JW Creates in one sentence, it would be this... equal parts exciting and stressful.... This year brought big life changes, unexpected challenges, creative wins, and moments where it felt like time completely slipped through my fingers. It’s honestly wild to be sitting here at the end of the year wondering how we already made it to the New Year and realizing there are still things I wanted to do that I never quite got to. But that’s life. And that’s running a creative business. Big Changes, Big Adjustments One of the biggest moments of the year happened outside of JW Creates, we sold our house. That came with excitement, but also a major shift, losing my studio space. That studio wasn’t just a room. It was my escape, my creative zone, and the place where Judged by the Cover  episodes came to life. Losing that dedicated space made consistency harder, creativity more scattered, and forced me to rethink how and where I work. On top of that, juggling personal changes, the natural ebb and flow of client projects, and bringing a new venture (Podnooga) into the JW Creates world made this year feel nonstop. There were moments I felt behind. Moments I felt reactive instead of proactive. And moments where creative outlets like playing guitar or experimenting just had to take a back seat. But those challenges also forced growth. Creative Wins I’m Really Proud Of Despite the chaos, 2025 delivered some projects I’m incredibly proud of. A few highlights: Real to Reel cover art for Phil Hyland and his band Girlfriend  . A LOT of really fun logo and branding projects The Poetry Pit branding and production. Several end-of-year projects that I can’t talk about yet  — but trust me, they’re exciting. I also worked with a return client who unexpectedly brought me two additional projects for her podcast, which a return client is always one of the biggest compliments I can receive! One of my favorite moments this year was working on a podcast cover art project where the client was excited every step of the way. Watching someone light up as their idea turns into something better than they imagined never gets old. That kind of energy fuels everything I do. And I’m currently working on one of the biggest cover art projects of my career and its one that’s pushing me far outside my comfort zone and may end up being some of my best work yet. You won’t see it until 2026… but it’s coming. Community Makes This Possible If there’s one thing that stayed constant this year, it’s the importance of community. Having Phil Hyland in my corner is a massive gift. Whether we’re grabbing coffee, working on Judged by the Cover, or planning Podnooga events. His support, encouragement, and trust in me creatively mean more than he probably knows. Restarting the Podnooga community has also been incredibly rewarding. Bringing Phil and Eric Clajus on board to help relaunch it made all the difference. Being able to share ideas, responsibilities, and vision has taken so much pressure off my shoulders even as I continue learning how to delegate better. I’m also grateful for: The team at 148 Studios Aaron at Walnut Street Publishing The guys at Be Caffeinated Thank you for opening your spaces and supporting what we’re building with Podnooga. And above all else I would love to say thank you to my wife, Genevieve. None of this happens without her constant support, patience, and belief in everything I do. Thank You (Truly) I don’t take it lightly that people choose to work with me. There are countless tools, platforms, and designers out there so if you trusted me with your project this year, I am genuinely grateful. If you’re discovering JW Creates for the first time:I love cover art. I love getting to know the people behind the projects. And I care deeply about making sure what we create actually serves your goals not just “gets it done.” If you’ve got a project in mind for the new year — podcast cover art, album artwork, branding, or a website — I’d love to hear about it!! Here’s to creating more together in 2026!!

What makes a Christmas movie truly unforgettable? Is it the sparkling lights, the heartfelt stories — or is it the music that follows us from living room speakers to local shopping malls, and straight into our collective cultural memory? The “Judged by the Cover” podcast dives deep into this question in their special holiday episode, exploring how Christmas movie soundtracks (and a few holiday albums!) have become a core part of how we mark, remember, and celebrate the season. But what are the building blocks behind these iconic soundtracks, and why do they matter? White Christmas: The Song That Became Bigger Than the Movie Few Christmas songs are as instantly recognizable as White Christmas. While the film itself never had a single, official soundtrack release, the title song made famous by Bing Crosby became a phenomenon. In fact, White Christmas  remains the best selling single of all time, outperforming countless modern hits. The song first appeared in the 1942 film Holiday Inn  before becoming synonymous with the 1954 movie White Christmas . This makes it a unique case where the music transcended the film, even without a traditional soundtrack album to anchor it. Rudolph the Red‑Nosed Reindeer: Stop‑Motion, Songs, and Holiday Tradition The classic Rudolph the Red‑Nosed Reindeer  TV special proves that a soundtrack doesn’t need to be flashy to be memorable. Originally based on a booklet created for Montgomery Ward, the story was later adapted into a song that became a massive hit. The stop‑motion television special almost didn’t happen, but the addition of Burl Ives as narrator and singer helped cement its place in holiday history. Songs like “Silver and Gold”  and “A Holly Jolly Christmas”  are inseparable from the visuals, making this soundtrack a perfect example of music reinforcing story and tradition. A Charlie Brown Christmas: Jazz, Simplicity, and Timeless Design A Charlie Brown Christmas  stands out for doing something completely different. Vince Guaraldi’s jazz‑driven score was a major risk at the time, and network executives were unsure audiences would connect with it. They were wrong. The stripped‑down trio sound, combined with tracks like “Linus and Lucy”  and “Christmas Time Is Here,”  helped create one of the most beloved Christmas soundtracks of all time. It’s also one of the rare holiday albums that works just as well as a standalone listening experience. From the music to the cover art, everything about this soundtrack reflects simplicity, warmth, and emotional honesty. Home Alone: How the Score Elevated a Holiday Classic Home Alone  may be remembered for its comedy, but the music plays a huge role in its lasting impact. Composer John Williams  stepped in late in the production process and helped transform the film with a score that balanced orchestral warmth and playful energy. Themes like “Somewhere in My Memory”  gave the movie emotional weight, while more energetic cues enhanced the film’s slapstick moments. The result is a soundtrack that helped turn Home Alone  into one of the most re-watchable Christmas movies of all time. The NSYNC Christmas Album: A Holiday Wild Card While not tied directly to a movie, NSYNC’s Home for Christmas  came up as a personal favorite (for Phil) and a reminder of how deeply music connects to family memories. Released in 1998, the album became a late‑90s holiday staple, blending pop production with classic Christmas songs. For many listeners, it’s inseparable from the era and the memories attached to it. Final Thoughts From jazz‑driven scores to pop‑era holiday albums, these Christmas soundtracks show how powerful music can be in shaping tradition, nostalgia, and storytelling. Whether it’s the timeless simplicity of A Charlie Brown Christmas , the cultural dominance of White Christmas , or the emotional pull of Home Alone , these soundtracks continue to define the holiday season. From both of us here at Judged by The cover we wish you all a Merry Christmas and a happy New Year!!!

In this episode of Judged by the Cover, Phil Hyland takes us on a nostalgic journey through his musical past. He shares the story behind "Reel to Real," a collection of 90s demo recordings recently brought back to life. Josh from JW Creates details the creative process behind the album artwork, incorporating weathered textures and Phil's handwriting to capture the essence of the era. Creating Real to Reel - Resurrecting 90s Tapes: A Journey Through Album Art and Nostalgia Phil Hyland, frontman of the 90s band Girlfriend, recently embarked on a project to breathe new life into old demo tapes. With the help of graphic designer Josh from JW Creates, these forgotten gems are now available as "Reel to Real" on streaming platforms. "I didn't want these things on tape to just decay," Phil explained. "I'm staring at a stack of like 150 pounds of reel to reel tapes in front of me. I don't want to lose that stuff." The process of bringing these demos to the digital age wasn't just about preserving the music. It was about capturing the essence of an era. Josh's design for the album art perfectly encapsulates the 90s vibe, featuring a prominent cassette tape image and a weathered, vintage look. "I love it. It's got such a warmth to it," Phil remarked about the design. "It's almost like a museum look in a way. Like, oh, this is like an artifact." The project also led to some unexpected reconnections. Phil shared, "It got me back in touch with Woody, our original drummer. He hadn't heard this freaking tape since he played on it." Nostalgia played a significant role in the creation of this album. Phil reminisced about the days of Walkmans and the excitement of owning a physical album. "I felt like, oh, man, I own this record. And I'd be on the New York City subways just with my headphones on, going to an audition, just digging whatever album I was into." In a surprising turn of events, Phil received a fan mail from a 15-year-old who had discovered Girlfriend's 1999 album. The young fan had filled out and mailed in a perforated card that was part of the original CD packaging - a relic of pre-internet fan engagement. "We got a call from New York saying, hey, we got this postcard here. Like, you know, it's from the girlfriend fan club," Phil shared. This unexpected connection bridged a 30-year gap, showcasing the enduring power of physical media and thoughtful album packaging. Key Takeaways from the Album Art Design: 1. Authenticity : The design incorporates actual handwriting for the album title, adding a personal touch. 2. Texture : Josh emphasized the importance of adding texture to create depth and a weathered look. 3. Balanced composition: The inclusion of both the band logo and production company logo brings visual balance to the design. 4. Font selection: A textured font was chosen to mimic the look of printed text on aged paper. 5. Color palette : A faded yellow background enhances the vintage aesthetic. 6. Prominent imagery: The cassette tape takes center stage, immediately conveying the album's concept. This project serves as a testament to the enduring appeal of physical media and the power of thoughtful design in bringing music to life across generations.

If you’ve heard me talk about Podnooga lately, you might be wondering: what exactly is it? The short answer: Podnooga is a creative community built for podcasters, content creators, and the people who support them. But the real story runs a little deeper—and it’s closely tied to my own journey as a creator and the work I do at JW Creates. How Podnooga Started My relationship with Podnooga goes back a few years. At the time, I was just getting my podcast started, Judged by the Cover , and Podnooga was one of the first places I found support. It wasn’t just about swapping tips or gear recommendations—it was about meeting other people who were figuring it out just like me. That community gave me the encouragement and momentum to keep going. And when the opportunity came along to help relaunch Podnooga, it felt like a full-circle moment. Why It Matters Podcasting can be a lonely pursuit sometimes. You’re recording in your office or garage, editing late at night, and wondering if anyone is even listening. Podnooga exists to change that. Our mission is simple: to bring together podcasters and creators with the resources, connections, and encouragement they need to thrive. We believe the best way to unlock your creative potential is by doing it alongside people who get it. Where JW Creates Fits In As many of you know, my business, JW Creates, is built around helping musicians, podcasters, and entrepreneurs bring their ideas to life through cover art, branding, and websites. That’s why supporting Podnooga feels so natural—it’s another way of helping creators succeed. Just like a strong piece of cover art can give a podcast credibility and help it stand out, a strong community can give creators the confidence and support they need to keep going. So in a sense, JW Creates sponsors Podnooga not just financially, but philosophically. Both exist to give creators the tools they need—whether that’s design and branding, or people and community. Looking Ahead Right now, Podnooga is still young in its relaunch, and I’m excited to see where it can grow. My hope is simple: that it continues to be a place where Chattanooga’s creative voices can come together, collaborate, and thrive. If you’re a podcaster, a content creator, or even just curious about this space, I’d love to invite you to be part of it. You can join our community here —and if you’re looking to take your show to the next level visually, you can always connect with me at JW Creates. Because at the end of the day, Podnooga and JW Creates share the same heartbeat: helping creators unlock their full potential.

When Aaron Quinn from Walnut Street Publishing first told me about The Poetry Pit , I knew it was going to be something special... While Aaron and I were chatting about my recent takeover of PodNooga — a growing podcast network dedicated to elevating creative voices in the Chattanooga area — he mentioned a poetry event he had in the works. Initially, he just needed help figuring out how to record the event. But once I heard his vision, I realized I had everything needed to help bring it to life — from gear and production experience to the creative fire to help shape its visual identity. What Is The Poetry Pit? The idea came straight from Aaron: a space where poets could share their work in front of a supportive audience of fellow writers. Think Tiny Desk Concerts  — but for poetry. Each poet gets the chance to perform, receive feedback, and talk about the deeper meaning behind their pieces. The vibe is raw, honest, and full of heart. Designing the Experience: What I Brought to the Table My role expanded quickly once I was on board. I handled the full recording, production, and editing of the sessions — along with all of the branding and creative direction. That included: Logo and visual identity Cover art and brand elements Intro music Aaron and his team did an amazing job curating the environment: a dimly lit room with colorful lighting, and artwork that gave the space texture and soul. I leaned into that aesthetic when creating the branding. During one of our conversations, Aaron said something that stuck with me, and it went something like this: “Poetry is like going into the pit of life experiences and picking up the pieces to make something beautiful out of it.” That line became the heart of the visual identity. The logo and cover art are designed to feel like a mosaic — broken pieces that, when brought together, form something meaningful and whole. Seeing the Dream Come to Life I’m incredibly proud of how everything came together. More than anything, I loved watching Aaron’s reaction — seeing someone light up as their idea becomes real is why I do what I do. That feeling never gets old. This was also one of the first creative projects launched under the newly revamped PodNooga Network , which made it even more meaningful to me. It set the tone for what we want PodNooga to be: a space for creators to build community and share their work in fresh and authentic ways. More to Come The response so far has been overwhelmingly positive. Aaron and the team at Walnut Street Publishing are excited to release more episodes and keep building this creative space for poets. And I’m thrilled that JW Creates could play a role in helping this vision find its voice — visually, sonically, and emotionally. Want to Bring Your Vision to Life? Let’s Talk. Whether you're launching a podcast, releasing a new music project, or starting a creative brand, I’d love to help you bring your ideas to life. At JW Creates, I specialize in cover art, logos, websites, and full creative branding — with a passion for helping creators and entrepreneurs make things that matter. If you’re looking for a partner who gets what it takes to build something from scratch , I’m here for it. Visit jwcreates.com  or use the form below to shoot me a message — let’s make something incredible together.

When it comes to building a recognizable brand—whether you’re a musician, podcaster, or content creator—your cover art is one of your most powerful tools. It’s not just decoration. It’s a statement. Great cover art doesn’t happen by accident. It’s intentionally designed to reflect your voice, your story, and your message. It becomes part of how people identify you, remember you, and connect with your content. Quality of Composition: Storytelling Is Rarely Accidental At the core of any strong visual design is composition —the way elements are laid out, balanced, and presented. DIY design often falls short here. Elements may feel randomly placed or lacking in intention. But strong composition is how a story comes to life visually. A perfect example of this is the band Tool . Their album covers are rich with symbolism, surrealism, and layered complexity. Albums like Lateralus  and 10,000 Days  aren’t just cool to look at—they’re meticulously constructed to mirror the spiritual, psychological, and metaphysical themes woven into the music. Their artwork feels like a natural extension of their sound. It's not just a "cool image"—it's storytelling in visual form. Every texture, line, and element feels like it belongs. Good design doesn’t just look good. It feels intentional . Cohesion with Sound or Message: A Visual Extension of the Art Your cover art should look  like your music feels . When there's cohesion between the sound and the visuals, the experience is seamless—and more impactful. Lana Del Rey  is a master of this. Her covers often evoke vintage Hollywood glamor, soft light, Americana, and nostalgic melancholy. From Born to Die  to Norman F-ing Rockwell , there’s a dreamy, faded-film quality that perfectly aligns with her lyrics, tone, and voice. Her imagery creates a world—a brand—that’s consistent and immersive. Even if you muted the audio, you’d still know exactly what her music feels  like just from the visuals. That’s the power of cohesive design. It gives your audience a sensory shortcut into your story. Adaptability to Digital Spaces: Design that Survives the Scroll In today’s world, cover art has to do more than look good on a record sleeve. It needs to perform in a digital-first environment. That means holding up at small sizes, catching the eye on a screen, and being instantly recognizable in a feed full of distractions. Take Charli XCX’s  new album Brat . That ultra-bright neon green background paired with a sharp, unmistakable font? It's pure digital gold. You could slap that green and that font on a napkin, and fans would know it’s Charli’s. It works on Instagram. It stands out on Spotify. It demands  attention in Apple Music. That kind of visual consistency across digital platforms creates brand power—and gives your cover art a life beyond just the album page. Authenticity: The Story Has to Be Yours One of the biggest traps creators fall into is chasing trends. A moody film photo here, a gritty texture there… because it's what everyone else is doing. But great cover art—the kind that resonates—feels real. It feels like you . Taylor Swift  nails this. Each of her album eras reflects a different aspect of her identity and evolution. From the glittery fairy-tale feel of Speak Now  to the indie-folk aesthetics of Folklore , her visuals grow  with her. They’re never cookie-cutter, never fake. She’s not chasing what’s hot—she’s building a world that’s authentically hers. And fans can feel that. Authentic visuals build trust. They create connection. And they elevate your brand. Your First Impression Matters Cover art isn’t just a graphic. It’s your first impression . It’s your brand at a glance . And when done well, it tells your story before anyone hits play. If you're serious about elevating your music, podcast, or brand—don’t leave the visual storytelling to chance. A professional designer ( like me 👋) brings not just technical skills, but strategic thinking: How does this look on streaming platforms? Does it align with your message? Will people remember it? Let’s make sure your cover art tells the right  story—the one you want your audience to feel, hear, and see.

Have you ever stumbled upon a musical treasure that completely caught you off guard? That's exactly what happened on the latest episode of the Judged by the Cover podcast. Hosts Josh and Phil embarked on an exciting journey of music discovery, proving that sometimes the best finds come from the most unexpected places. Record Store Day Discoveries: Unearthing Southern Rock Gems Josh and Phil kicked off their latest podcast episode by recounting their recent Record Store Day adventure. The bustling atmosphere at Yellow Racket Records left them slightly unprepared but excited to see music lovers lining up for physical albums. "It was awesome to see people waiting in line to get physical copies of all these albums," Josh enthused. "We just got to talk to a few people and just like, hey, what are you getting? What are you excited about?" Music Discovery 2.0 The duo then dive into their music discovery segment, a favorite from last year's episodes. Josh presented three mystery albums he'd picked up at For the Record in Northgate Mall, letting Phil choose one based solely on the cover art. Phil's choice? The Outlaws' self-titled debut album from 1975. "Outlaws. All right, so outlaws it is," Josh declared. After a quick listen, both hosts were immediately hooked. "As soon as that needle hit and it started playing, it was just like. We were both like, we dig this. This is awesome," Josh said. The album surprised them with its blend of southern rock and country vibes, featuring tight guitar work and three-part harmonies. They were particularly impressed by the epic closing track, "Green Grass and High Tides." "We had to go over to the turntable, and look how thick the freaking. The band was on the turntable. This song's like, that thick. I was like, this thing's for another 10 minutes," Phil marveled. Digging deeper, they discovered The Outlaws were from Tampa, Florida, and had opened for legendary acts like the Allman Brothers, Lynyrd Skynyrd, and the Eagles. Even more surprising, they were the first act signed to Arista Records by industry icon Clive Davis. Phil shared his own Arista connection, recalling a meeting his band once had with the label. Cover Art...? The hosts then analyzed the album's cover art, noting its sepia tones and intriguing imagery. "The main thing is this Outlaws logo with the. With the longhorn outline going around it. Just a really cool logo in my opinion," Josh observed. Key takeaways from the cover design: 1. Striking logo featuring a longhorn outline 2. Sepia-toned color scheme reminiscent of old westerns 3. Imagery of a wooden house with a porch and stained glass door 4. Subtle details like a small bird on the railing 5. Credited design by Arten association and cover art by Janet Mager

Another special interview episode of the Judged by the Cover podcast is coming your way, and this time it is with a great friend of mine Brent Crowe! Brent is an amazing song writer, musician, producer and owner of the studio Backbeat Sound Design here in Chattanooga TN. The conversation ranges from song writing, to production and recording knowledge, and as always we discuss the importance of branding, album covers, and some of Brent's favorite album covers. Below is the digital content for the Interview with Brent Crowe It wouldn't be the Judged by the Cover podcast if we didn't talk album covers, and album cover design. What's your favorite cover art from your personal releases...? What's an album cover that you love...? Cover art for The Swift Links Below are some of the places to connect with Brent, and for his song I Never Knew that we discuss during this interview. Website - https://www.backbeatsounddesign.com Facebook - https://www.facebook.com/backbeatsounddesign Instagram - https://www.instagram.com/backbeatsound - https://www.instagram.com/backbeat_blackbird SoundCloud - https://soundcloud.com/backbeatsounddesign I Never Knew - iTunes - https://music.apple.com/us/album/i-never-knew/1584833686?i=1584833700 - Apple Music - https://music.apple.com/us/album/i-never-knew-single/1584833686 - Spotify - https://open.spotify.com/track/0XSyY9NUhd9cVLnaAxdObW?si=eb4f665f9b414a96 Who do you want to hear next on the Judge by the cover Podcast...? Let me know in the comments below. Judged by the Cover is a proud partner of the PodNooga Network. Follow Podnooga on facebook and instagram , or find us on the web at podnooganetwork.com

There is no shortage of Christmas albums…covering everything from traditional hymns to some of pop cultures finest trying to create music that evokes the feelings of the season. Most of these album covers have your traditional Christmas elements (Christmas trees, presents, snowflakes, red and green colors, etc…)…but there is also no shortage of “interesting” finds. So we are going to explore a few of them that I find to be most unusual in this special edition of the Judged by the cover podcast. A Very Special Christmas To kick off our ugly Christmas sweater episode, I have an album cover that I have always found to be odd, but I didn’t realize how important this album was until I got into the. The album, A Very Special Christmas, is a compilation album that came out in Oct of 1987 and it has some huge names on it… for example….Madonna, sting, Whitney Houston, U2, RUN DMC….and much much more!! These are some of the biggest names of the MTV era of music, and their contributions to this album shaped how pop culture and Christmas music sound and go together. It also made it “cool” in the eyes of artist… SO much so that now if you name any big artist today…Taylor Swift, Ariana Grande, Bob Dylan, John Legend…they all have Christmas albums. You can also think of it this way…without this the now Christmas Mega Hit “All I Want For Christmas” may have never existed…..which now that I think about it, might not be a bad thing….but I digress….back to the album. The album producer, Jimmy Iovine, created this album as a tribute to his beloved father who loved Christmas and the holiday’s, who tragically passed away in 1985. Bruce Springsteen had called Iovine to offer his condolences, and kind of reacting in the moment said to him “I’m going to make a christmas album…Jimmy also wanted to keep this album pure, and keep money out of the equation, so he had to find something to due with the proceeds of the album. Of all things Jimmy found his organization to give the proceeds to at a Special Olympics wrestling event. It was a charity event, and they didn’t have or couldn’t get the “real” wrestlers so they had actors playing their roles. He believed in what the Special Olympics was trying to do, so they decided all the proceeds would go to that origanization. This album spawned 10 more albums, and collectively (as of dec 20, 2022) has raised $145 million dollars for the Special Olympics!!! Now let’s talk about this album cover. I will start by stating that it’s not terrible….I guess my main gripe with it, is that it doesn’t scream (or even whisper) Christmas to me. Iovine enlisted the help of pop artist and world celebrated graffitist Keith Haring to design the cover art. Example of Keith Haring's art style Keith Haring was an American artist that emerged from the New York City graffiti subculture of the 1980’s. HIs style was simple and animated imagery that usually was outlined figures (people, dogs, shapes, etc…) and was also usually very colorful with thick black outlines. He also used lines to show movement or animation similar to those you would find in a comic book. The cover has a bright red background with gold art and lettering. The main art piece is described as a haloed figure cradling a child. If you can image a simple outline drawing of a person, holding a baby…thats surrounded by a box that in a nutshell is what we have.  Around the main figures head we have lines that would indicate light, or possibly excitement. I’m guessing that the meaning of this is a play on the original Christmas story of Mary holding Jesus…but given this is also a very “cultural” album, with proceeds going to the Special Olympics…it could also be celebrating the specialness of a child or of all children. Although in and of itself it is a great art piece…I struggle to see “Christmas” in this. I know that I for one struggle to understand some modern art styles, but I just don’t get the Christmas vibes. I love the hard work, the intentionality, and the mission of the album…but unfortunately I don’t love the cover art. The same artwork would continue on for all the albums, in one form or another, and in different colors and styles. I will share some of them on the Notes page for this episode. You can find the blog post with all the digital content for these episodes at jwcreates.com/notes and look for the post corresponding with this episode. So that’s our first Ugly Christmas sweater album, what do you think of this album cover…? Happy Holi-dee he next victim…I mean album cover fits into the category of awkward family photo worthy. Do you remember when the “awkward family photo” style took over the internet, and actually became its own greeting card style…? If you are unsure of what I’m talking about a quick scroll through the website awkwardfamilyphotos.com  will answer all your questions. The album in question here is titled Happy Holi-dee, by Lenny Dee. You catch that fun pun there….. Lenny Dee was an American virtuoso organist who played many styles of music. His albums were mostly categorized as easy listening and space age pop. Surprisingly there isn’t a lot of info on the internet regarding this album, but thanks to the YouTube channel LP & Laundry, I got this information about the album. From the back of the album it describes it as such…”Organist Lenny Dee, about the merriest music maker you’re apt to meet south of Santa’s workshop, presents in this album a sparkling collection of the most popular Christmas songs. As for the cover…boy is there a lot of fun stuff to discuss. We have ole Lenny Dee himself dressed up as Saint Nick….minus the beard (which we will discuss that more in a sec). and not like some people who just throw on the Santa hat and red clothing, he is in the full Santa suit with the big black belt, the long white hair and of course the hat. He is posing with not 1 or 2 but 3 toy poodles, all of which have this I don’t want to be here stare. And you have some Christmas presents in the shot and for a last nice touch there is a snow flake and a star in the top right corner. SO back to the no beard….I can imagine a couple of reasons for the no beard, but it kind of feels like a cop out to me. If you’re going to commit to the full Santa up-fit…you gotta do the beard too. Now a couple reasons why I image he didn’t do the beard, first being the dogs. I can’t confirm this bit of info but I’m guessing these are his dogs (because he was supposedly a big fan of poodles)…and they probably wouldn’t want to participate in photos with him in a beard. Also and probably a more important reason is people being able to recognize Lenny Dee since his image is/was his brand. Speaking of these poodles, they are staring away from the camera, off to the side where I’m sure someone is trying to get their attention so it looks like they are staring at the camera. It adds to the awkwardness of this photo and gives the dogs this stone cold look of “please get us out of here”. If you are ever digging through some old vinyl and find one of these albums, it’s actually a pretty fun listen. Again shout out to the YouTube page LP & Laundry for his play through of the album. It always helps to get to listen to an album when you’re looking to discuss or dissect it. Ella Wishes you a Swinging Christmas Boy did I save the best for last. Although there is a lot of interesting imagery out there on Christmas albums. I feel there is none out there quite as “unique” as this. The one beautiful thing about Christmas music as a theme, is that there is a lot of imagery that you can use that will make people think of Christmas, or invoke Christmas memories of the past….but would you consider using a unicorn as the main image on your Christmas album….? Neither would I…but Ella Fitzgerald did. In 1960 the album Ella Wishes You a Swinging Christmas was released by Ella Fitzgerald. Ella Fitzgerald was an American jazz singer, and has been referred to as the Queen of Jazz, the First Lady of Song, or Lady Ella. Ella is noted for here purity of tone, impeccable diction, phrasing, intonation, and for having a “horn-like” impovisational ability to her singing. One review I found of the album said this…”Rich, mellow sound, ear-pleasing arrangements, and of course Ella Fitzgeralds good cheer make this a Christmas season winner your sure to play often at least until the 25th of December and perhaps beyond. I can definitely agree, after doing a listen through its a pleasant album to listen to…and kinda makes me want to get a copy of this on vinyl…because Christmas music just sounds better on vinyl. But the cover…..O the cover….where do I begin. I will again give the same disclaimer that I gave on the first album, it’s not terrible as an art piece. It’s a lil wierd, but definitely not terrible. But as a Christmas album cover….I don’t it just have those Christmas feels. The main part of the cover is this painting of a unicorn with its head popping up out of what looks like long HUGE blades of grass, with a flower in its mouth. The unicorn is in this modern painting style that is….interesting. the way they textured the body in the painting almost makes it look like its got a lot of eyes all over its body….The color on the unicorn is these yellow and orange shades with the lines outlining the imagery being purplish in color. The font usage is also kind of interesting because at the top it has “Ella wishes you” in pretty traditional handwritten font, but the rest of the album title is wrapped around the head of our unicorn in a very hand drawn font in a light purple color. My one kind of complaint with the hand drawn font is that the G’s kind of look like 9’s….especially the one a the end of swinging. Also how they had to stack Christmas because they ran out of room isn’t ideal either in my opinion. I did find one forum of people discussing this album, and it seems that initially the album was supposed to have a track called “Rudolph the Psychedelic Unicorn” or possibly a song called “Unicorn Song”. I can’t validate the claims…but may be the best explanation of why there’s a unicorn on the front of this album. I also saw some people talking on another forum about Ella’s manager and label co-owner Norman Granz, and had this to say about him “Verve’s label owner Norman Granz is likely to have been responsible for the choice of this album’s artwork. His admiration for modern and abstract art is evident in the artwork of other Verve albums, and possibly on this album, too. Along with the man’s own tastes, a PR strategy could have been behind the selection of the album's so-called wild modern design.” It sounds like he was trying to use modern art in album covers to make them kool, because the pr messaging at the time was basically “that albums such as this one were cool, exciting, “in tune with the times,” not old-fashioned. I'm assuming that the album cover may not have been Ella's first choice, and she possibly had no choice, but I would love to hear your thoughts of this album cover...? Let me know below. Have a Merry Christmas, and a Happy New Year!!

Join us as we look back at some of our favorite album covers, physical packaging, music and more from 2023! Welcome to the first Judged by the Cover of 2024!! With a new year come big changes, so everyone give a warm welcome to our new co-host Phil Hyland! Phil has been on the show before as a guest, and he brings a totally different music perspective and energy to the show that I'm really excited about. To kick off this new season, I thought it would be fun to look at some of our favorite album covers, physical packaging, and music from 2023. This could be albums that dropped in 2023, or stuff that we discovered this year. We talk everything form cover art to books and autobiographies, so make sure you check it out using the player above, or on any of your favorite podcasting apps. Below you find the images and links to the items we talked about on the podcast Album Cover of the Year Grandville - This self titled debut album by the band Grandville was Josh's #1 album cover of the year. I loved all the detail in the image, the interior of the car specifically, and the overall design and mood of this cover. It also helps that the album it self rocks!! For a group of young guys from Athens GA, this album sure packs great song writing and sweet guitar tones to go along with the amazing cover art. Check it out using the links below. www.grandvillemusic.com There's a really cool in process video of the creation of this album cover, use the link below to view it on instagram. https://www.instagram.com/reel/CtH4KS9Pys-/?igsh=MzRlODBiNWFlZA== Music Video for the song Terrible Things Phils 2023 Discovery Willy Tea Taylor - Knuckellball Prime Phil had the opportunity to see Willy Tea Taylor in Chattanooga, opening up for an artist at Songbirds. Phil fell in love with the raw and authentic nature to Willy Tea Taylor's music. Check out Phils favorite album out below, and make sure to listen to the song Chickamauga! https://blackwingmusic.com/about-willy-tea-taylor/ Physical Packaging of the Year Jelly Roll - Whitsitt Chapel - The Hymnal Just look at this thing!!! You just don't see new music being released in a format like this. The world of music has become so digital with Spotify and Apple music being our first gateways to new music. If you have one of these that you want to send to my please let me know! Use the link below to view all the promo material, for this album Whitsitt Chapel and let us know if you find it as cool as we do. https://tensiondivision.com/project/jelly-roll-whitsitt-chapel Favorite cover art discussed on season 1 of the Judged by the Cover Podcast Phils Pick Chicago 10 https://www.jwcreates.com/post/judged-by-the-cover-chicago Josh Pick Linkin Park Meteora https://www.jwcreates.com/post/judged-by-the-cover-meteora-ep-4 There's way more that we talked about on the podcast that I just ran out of time to list. What was your favorite album cover that we talked about on season 1 of the Judged by the Cover podcast...? Let us know in the comments below.