//Like previous Chicks albums, Gaslighter features three ladies on the cover. But what’s remarkable about the ladies on the cover is that they are not, in fact, Maines, Maguire, and Stayer. Instead the image on the cover features winners in the Corrigan-White School of Irish Dance competition. How does this interesting choice to feature different “chicks” on this cover affect how we think about The Chicks and their music on Gaslighter? //

//With Magritte, The Phosphorescent Blues asserts that mandolin, acoustic guitar, fiddle, and banjo speak not merely through nostalgic fantasies, but also in ways that resonate with the melancholy of modern life.//

//“I don't ever gravitate towards art for answers. I always want to come away with something with more questions. . . . It goes back to it being a gateway to something. I think that that's like a really important part of how I developed as an artist and a musician. It's like these little doors that you are able to open up and they lead off to a pathway that just keeps working off in different directions.” —Robert Beatty//

//During the 20th century, the music recording industry began to shape the ways we received our music. The musical sounds they captured and distributed on records were separated from their original visible sources. By the 1940s, the new marketing concept of album art began to fill the visual sensory void, (re)connecting the recorded sounds to imagery through their packaging.//