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Billboard Country Airplay and Country Albums Chart (October 17th)

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Billboard Country Airplay

1. Kenny Chesney–“Save It for a Rainy Day” (3rd week at #1)
2. Brett Eldredge–“Lose My Mind” (up 1)
3. Luke Bryan–“Strip It Down” (up 1)
4. Keith Urban–“John Cougar, John Deere, John 3:16” (down 2)
5. Florida Georgia Line–“Anything Goes”
6. Chase Rice–“Gonna Wanna Tonight” (up 2)
7. Old Dominion–“Break Up With Him” (down 1)
8. Cole Swindell–“Let Me See Ya Girl” (up 2)
9. Carrie Underwood–“Smoke Break” (down 2)
10. Maddie & Tae–“Fly” (up 1)
11. Dan + Shay–“Nothin’ Like You” (up 1)
12. Blake Shelton–“Gonna” (up 1)
13. Chris Young–“I’m Comin’ Over” (up 1)
14. Jason Aldean–“Gonna Know We Were Here” (up 1)
15. Tim McGraw–“Top of the World” (up 1)
16. Cam–“Burning House” (up 1)
17. Brothers Osborne–“Stay a Little Longer” (up 2)
18. Big & Rich–“Run Away With You” (up 3)
19. Parmalee–“Already Callin’ You Mine” (up 1)
20. Kelsea Ballerini–“Dibs” (up 2)
21. LoCash–“I Love This Life” (up 2)
22. Jana Kramer–“I Got the Boy” (up 2)
23. Hunter Hayes–“21” (up 2)
24. Brad Paisley–“Country Nation” (up 2)
25. Randy Houser–“We Went” (up 3)
26. Sam Hunt–“Break up in a Small Town” (entering top 30)
27. A Thousand Horses–(“This Ain’t No) Drunk Dial” (up 3)
28. The Band Perry–“Live Forever” (down 1)
29. Jake Owen–“Real Life” (down 11)
30. Thomas Rhett–“Die a Happy Man” (entering top 30)

  • Kenny Chesney’s “Save It for a Rainy Day” remains at the top for a 3rd week
  • next week’s #1 prediction: “Lose My Mind
  • Sam Hunt’s horrible “Break up in a Small Town” and Thomas Rhett’s “Die a Happy Man” enter the top 30 this week
  • Chris Janson’s “Buy Me a Boat” fell from #9 to out of the top 30
  • Chase Bryant’s “Little Bit of You” fell from #29 to #31

Billboard Top Country Albums

What a victory for country music!

1. Don Henley–Cass County [debut]
2. George Strait–Cold Beer Conversation [debut]
3. Thomas Rhett–Tangled Up [debut]
4. Luke Bryan–Kill the Lights
5. Sam Hunt–Montevallo
6. Alabama–Southern Drawl
7. Brett Eldredge–Illinois
8. Zac Brown Band–Jekyll + Hyde
9. Eric Church–The Outsiders
10. Florida Georgia Line–Anything Goes
11. Little Big Town–Painkiller
12. Maddie & Tae–Start Here
13. Clint Black–On Purpose [debut]
14. Alan Jackson–Angels and Alcohol
15. Jason Aldean–Old Boots, New Dirt
16. Turnpike Troubadours–Turnpike Troubadours
17. Brantley Gilbert–Just as I Am
18. Kacey Musgraves–Pageant Material
19. Various Artists–Now That’s What I Call Country, Volume 8
20. Chase Rice–Ignite the Night
21. Chris Stapleton–Traveller
22. Kip Moore–Wild Ones
23. Willie Nelson/Merle Haggard–Django and Jimmie
24. Home Free–Country Evolution
25. Jason Isbell–Something More Than Free

  • Don Henley’s Cass County and George Strait’s Cold Beer Conversation each sold more than 80,000 copies, coming in at #1 and #2
  • Thomas Rhett’s Tangled Up missed Strait by 20,000 copies and came in at #3…this is the best sentence I have ever written on this blog
  • Clint Black’s On Purpose unimpressively debuts at #13

Source: Billboard

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Billboard Country Airplay and Country Albums Chart (October 10th)

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Billboard Country Airplay

1. Kenny Chesney–“Save It for a Rainy Day” (2nd week a #1)
2. Keith Urban–“John Cougar, John Deere, John 3:16”
3. Brett Eldredge–“Lose my Mind” (up 1)
4. Luke Bryan–“Strip It Down” (up 2)
5. Florida Georgia Line–“Anything Goes” (up 2)
6. Old Dominion–“Break Up With Him” (up 5) [tied for biggest gainer]
7. Carrie Underwood–“Smoke Break” (up 2)
8. Chase Rice–“Gonna Wanna Tonight”
9. Chris Janson–“Buy Me a Boat” (down 6)
10. Cole Swindell–“Let Me See Ya Girl” (up 2)
11. Maddie & Tae–“Fly” (down 1)
12. Dan + Shay–“Nothin’ Like You” (up 1)
13. Blake Shelton–“Gonna” (up 1)
14. Chris Young–“I’m Comin’ Over” (up 1)
15. Jason Aldean–“Gonna Know We Were Here” (up 5) [tied for biggest gainer]
16. Tim McGraw–“Top of the World” (up 2)
17. Cam–“Burning House” (up 2)
18. Jake Owen–“Real Life” (down 1)
19. Brothers Osborne–“Stay a Little Longer” (up 2)
20. Parmalee–“Already Callin’ You Mine” (up 3)
21. Big & Rich–“Run Away With You” (up 1)
22. Kelsea Ballerini–“Dibs” (up 2)
23. LoCash–“I Love This Life” (up 2)
24. Jana Kramer–“I Got the Boy” (up 2)
25. Hunter Hayes–“21” (up 2)
26. Brad Paisley–“Country Nation” (entering top 30)
27. The Band Perry–“Live Forever” (up 1)
28. Randy Houser–“We Went” (entering top 30)
29. Chase Bryant–“Little Bit of You” (up 1)
30. A Thousand Horses–(“This Ain’t No) Drunk Dial” (down 1)

  • Kenny Chesney’s “Save It for a Rainy Day” remains at the top for a 2nd week
  • next week’s #1 prediction: “John Cougar, John Deere, John 3:16”
  • Thomas Rhett’s “Crash and Burn” and Lady Antebellum’s “Long Stretch of Love” fell from #5 and #16, respectively, to out of the top 30
  • Brad Paisley’s mediocre “Country Nation” and Randy Houser’s unoriginal “We Went” enter the top 30 this week

Billboard Top Country Albums

1. Luke Bryan–Kill the Lights
2. Alabama–Southern Drawl [debut]
3. Turnpike Troubadours–The Turnpike Troubadours [debut]
4. Home Free–Country Evolution [debut]
5. Brett Eldredge–Illinois
6. Sam Hunt–Montevallo
7. Eric Church–The Outsiders
8. Zac Brown Band–Jekyll + Hyde
9. Florida Georgia Line–Anything Goes
10. Little Big Town–Painkiller
11. Maddie & Tae–Start Here
12. Jason Aldean–Old Boots, New Dirt
13. Alan Jackson–Angels and Alcohol
14. Brantley Gilbert–Just as I Am
15. Various Artists–Now That’s What I Call Country, Volume 8
16. Kacey Musgraves–Pageant Material
17. Kip Moore–Wild Ones
18. Chris Stapleton–Traveller
19. Chase Rice–Ignite the Night
20. Zac Brown Band–Greatest Hits So Far…
21. Jason Isbell–Something More Than Free
22. Carrie Underwood–Greatest Hits: Decade #1
23. Elvis Presley–Elvis Presley Forever
24. Cole Swindell–Cole Swindell
25. Alabama–Angels Among Us: Hymns & Gospel Favorites

  • Luke Bryan is back on top with the unfortunate Kill the Lights
  • Turnpike Troubadours debut at #3 with their brilliant self-titled album…if you have not listened to and/or bought this, do it now
  • Alabama’s Southern Drawl debuts at #2
  • at least Sam Hunt was not in the top 5 for once
  • seriously, who is buying these Now That’s What I Call Country albums?

Source: Billboard

Commentary

Random Thoughts of the Week: The Top Five Signs of Hope for Mainstream Country

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2015 has been the year of the sellout in country music. The two most disappointing sellouts of the year for me were easily the Zac Brown Band and the Eli Young Band, the former with the release of the EDM single “Beautiful Drug” to country radio, and the latter with the terrible single “Turn it On” and the subsequent EP, as well as the horrible “country remix” of “Honey, I’m Good” with Andy Grammer. Keith Urban was a close third, using his talent to give us the brilliant “John Cougar, John Deere, John 3:16,” a song that personally pisses me off about as much as “Kick the Dust Up” because Keith Urban knows better. Easton Corbin used his George Strait-esque voice, previously used for “A Little More Country Than That,” to record an album full of bro country pickup lines. Brett Eldredge, though never really carrying a torch for traditional country, was never really working aginst us until his recent r&b album Illinois. Danielle Bradbery has remade herself into a wannabe pop star for the sake of reviving an already struggling career. Even the legendary Alabama sunk to the low of releasing “Southern Drawl,” a desperate attempt to be cool that failed in every respect, coolness especially. And now, Eric Paslay’s new single, “High Class” seems to have finally pushed everyone off the deep end with its blatant metro-bro bullshit lyrics and style–and this coming from the person who obviously knows better, as “She Don’t Love You” so effectively proved. In times like these, people start saying we should forsake country altogether and start calling ourselves Americana fans, that we should just surrender our beloved “country music” to these sellouts, country carpetbaggers, and metro-bro douchebags, and go listen to Americana. They say that all hope for “country” as we knew it is lost.

Well, here are some signs of hope, in no particular order of importance.

Dierks Bentley

Dierks Bentley is not selling out, as his latest single, “Riser,” has proven. I will be incredibly shocked if he succumbs to the trends, as he has no reason to. He has found the perfect balance between quality and airplay and doesn’t seem to care that he often does not get the recognition he deserves. He has made quality music throughout his career and has no reason to change that now; he’s found a formula that works for him even in this country radio climate.

Carrie Underwood

Carrie Underwood is not a traditional country artist, but she’s here because she defines what actual pop country should sound like. She takes the best of pop and country and blends them well, offering songs that both display depth in storytelling and are radio-ready. Although I was not as impressed with her new single, “Smoke Break,” as many, it certainly does not follow the current trends, and her new album, Storyteller, could be a factor in turning back the tide of mainstream country music to a real pop-country sound–what we have now is straight pop poorly disguised and incorrectly labled as country.

Cam

True, Cam has only given us two singles and an EP so far, but the reason she’s in my top five signs of hope for mainstream country is that On the Verge supported her. Her first single, “My Mistake,” was a nice pop country blend, but “Burning House,” the sponsored single, is a completely acoustic, traditional country song. The fact that this program supported an artist like that signals change. Cam’s debut album cannot come soon enough!

Chris Stapleton

Some would argue whether Chris Stapleton is mainstream, but I don’t see why. He’s on a major label and has even received some airplay. Traveller is nominated for Album of the Year by the CMA, and Stapleton is nominated for Male Vocalist of the Year and New Artist of the Year. Stapleton with three nominations is a sure sign of hope.

Maddie & Tae

I have written a lot about these ladies, but I’ll say it again–they can bring those that think “country” = Sam Hunt and Kelsea Ballerini back to country. Radio has actually given them a shot. They’ve proven they’re not afraid of fighting for country; they’ve spoken out against drum machines and their debut single was “Girl in a Country Song.” The fact that Scott Borchetta and Big Machine are behind them and that they’re actually getting played is a huge sign of hope.

Despite all the selling out, there are still a lot of reasons to hope for mainstream country, perhaps now more than ever. More and more independent artists are seeing success in album sales that mainstream Nashville can’t ignore. Country legend Merle Haggard, a name-drop in many of today’s songs, is openly speaking out. Represented above are established artists and newcomers alike, fighting for real country music. I didn’t even mention Mo Pitney, Ashley Monroe, Kacey Musgraves, Jon Pardi–the list goes on. Not to mention Tim McGraw’s new album will unashamedly be titled Damn Country Music. I wasn’t thrilled by the lead single, but the album title certainly intrigues me. The point of all this is that mainstream country is far from hopeless–in fact, after years of fighting, we are finally seeing numbers on our side, artists speaking out, and more traditional artists being signed and getting airplay. In short, although it is happening slowly, we are seeing results. Why should we give up now? The day we leave our own fight and run to Americana is the day that country music will be lost.

Tomato of the Week: Jamie Lin Wilson

I featured her friend and fellow Texas country artist, Courtney Patton, last week, so this week, I am covering Jamie Lin Wilson. Check out her full article on Female Friday!

Random Country Suggestion: Randy Rogers Band–Burning the Day

A great album from one of my favorite Texas/Red Dirt bands.

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No non-country suggestion, just go listen to these glaring signs of hope.

Reviews

Review: Alabama Sells Out Hugely with “Southern Drawl”

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Rating: 0/10

Alabama, what were you thinking? I can’t even believe I had to write the above title. You gave us “Mountain Music,” “Love in the First Degree,” “Roll On,” and so many other great songs. You had a remarkable career as one of the most successful groups in country music history. You haven’t produced a studio album in fifteen years, and this…thing is what we get? Did you hear Florida Georgia Line say “Alabama on the boom box,” or Jason Aldean say he was “jammin’ to some old Alabama with you baby” while he was “burnin’ it down” and think, “We can make cool music too?” Or was it the collaboration with Brad Paisley who was “listenin’ to old Alabama, parked somewhere in Tennessee” that made you think this would all be okay? Whatever it was, this thing is pathetic…you had no reason to sell out, and you won’t be successful doing it. The recording of this song will have been nothing but an embarrassing stain on the great legacy of Alabama.

Okay, as everyone can see, Alabama’s new song “Southern Drawl” sucks. The intro sounds exactly like “We Will Rock You.” They added in fake applause which go oh so nicely with the blaring rock guitars. Then the vocals start, and I can’t tell if this is a bad parody of checklist/bro country or just an ill-advised attempt to be cool, but this is some sort of song listing all the things that make them Southern. “Life sounds better with a Southern drawl” might sound more convincing if they had a Southern drawl while singing it. Their vocals are terrible and not Alabama quality, and they can’t keep up with the track. Then the bridge comes, and with it the only redeeming quality in this song, the piano solo. That might have moved it up to a 1, but then Alabama actually raps. Yes, I wrote that sentence…Alabama raps. And with that, I don’t know what else to say about it, it’s just awful, and I wish I had never heard it and could erase this from my knowledge/memory of Alabama. This song has received virtually no attention except for its bad reviews, so there was literally no point in selling out like this. Their album, also named Southern Drawl, is due out September 18th, and it can only be better than this. Then again, I never thought I would hear this train wreck come out of the Alabama that I loved. If this is what was coming after fifteen years, they should have never made another album.

Here’s a live version–and it should tell you something about the recording that I had to listen to most of this to tell that it was indeed a live version. It doesn’t sound all that different.

Reviews

Album Review: Blackberry Smoke–Holding all the Roses

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Rating: 10/10

Blackberry Smoke had the distinction of having the first No. 1 country album by an independent artist earlier this year. Country Exclusive didn’t exist when it came out in February, but it deserves to be reviewed. While I say that this album is a rock album first and a country album second, it does something that few pop country albums and rock country albums do well. It doesn’t seek to blend the styles all the time. In other words, rock songs are rock, and country songs are country. When the styles actually are blended, it is done flawlessly. This album was my first introduction to Blackberry Smoke, and I am now a fan.

The rock song “Let me Help You (Find the Door”) opens the album. These lines were my first meeting with Blackberry Smoke

Why’s it got to be the same damn thing,
The same damn song that everybody wants to sing
Same sons of bitches still rigging the game
They sell the same old faces with a brand-new name

I love that they chose to open with this; it shows that what you see is what you get. I also like the rock protest element of the song blended with the lyrics protesting the state of country. Next is “Holding All the Roses,” in which they blend acoustic guitars and fiddles with electric guitars to create the closest thing to country metal I’ve ever heard. Lyrically, it’s great too, with lines about coming out of hard times and “Holding all the roses on the other side.” This is probably my favorite song on the album, but it’s really hard to pick.

Next is “Living in the Song,” a song about living out the words to a heartbreak song. It’s got rock music and country lyrics…that’s all I can say. Following this is the fun rock song aptly titled “Rock and Roll Again.” It feels like I just stepped back into the 70’s here with this. If there were more of these songs on the album, it would bring it down, but one is just right and feels more like an experiment that worked rather than a completely different sound. Next is the blended track, “Woman in the Moon.” This is a slower song which describes living life “a little off-kilter.” I paid more attention here to the instrumentation, which features haunting fiddles and electric guitars. It’s a song that’s hard to explain and one you need to hear for yourself to really appreciate. “Too High” is the first completely country song and is something I could picture on an Alabama album. “That mountain is too high for me to climb, that river is too deep and it’s too wide,” the group sings. This feeling seems to be temporary though, and this feels like a laidback, less angry version of “Holding all the Roses.”

“Wish in One Hand” goes back to rock. It’s a song about someone who is wishing to be rich, liked by everyone, etc. They illustrate that this will never be reality with the brilliant line, “Wish in one hand, shit in the other, see which one fills up first for you, brother.” The instrumental “Randolph Country Farewell” is a nice acoustic country interlude before “Payback’s a Bitch.” This rock song is about a man telling a woman just that. I love the line, “If I were you, I’d sleep with one eye open.” I also love how much thought the group seems to put into their lyrics, even on rock songs. It makes you want to listen to the words as much as the music. Their lyrical focus comes from their country leanings.

Blackberry Smoke ventures back to country for the next two songs. “Lay it All on Me” is a fun song that paints an amusing picture of our dirty little secrets. The narrator falls in love with a girl with a complicated past and is now on the run from her and her brother after being caught cheating. “No Way Back to Eden” argues that the world is so full of sin and evil that it is beyond help. It’s another one that you really need to hear to appreciate. The album closes much as it began–with an angry rock song. “Fire in the Hole” feels more personal, like an attack on a record label or executive. Lines like “I can’t see why you are the one who holds the key” point to this, but I could be wrong.

Holding all the Roses is an excellent album. It’s more rock than country, but it succeeds at both. If you want to hear nothing but steel guitar and stripped-down country, this is not the album for you. If you love rock and country, and would like to see what would happen if AC/DC and Charlie Daniels produced a musical child, buy this album. It’s one of the best albums of the year by far.

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