Tag Archives: Sam Hunt

Right Then, About This Whiskey Riff Business

Yes, I know I’m late to the party; I was out of town when the uproar broke out. And yes, I know maybe I shouldn’t give Whiskey Riff the satisfaction of even acknowledging this idiocy, as plenty of other outlets have already done it. If you don’t know by now, Whiskey Riff posted an article Friday asserting that the reason we all hate mainstream country music is because we were all losers in high school. Florida Georgia Line, Sam Hunt, Luke Bryan–well, they’re the good-looking jocks who get the popularity and the girls, and we’re all just jealous because we didn’t live this lifestyle in high school and can’t relate to or understand it. Essentially, we’re all just the geeks and misfits, and now we’re holding some sort of grudge against the jocks.

I won’t waste time doing what other blogs have already done fantastically; others have already defended the reasons we criticize mainstream country music. I won’t tell you my back story in an effort to explain my situation in high school, and I won’t lie and say I was extremely popular either. I won’t tell you about the mainstream artists I do enjoy–you can find that for yourself in the reviews. I will say the most offensive part of this for me was the part where we’re all jealous of FGl, Luke, and Sam because they’re good-looking and get all the girls. Ok, so even if we go with this assumption, and even if that twisted bit of logic explains the problem men have with these artists and their music, where does that leave women? What about all the women who are offended by this music? Or have all the listeners of bro country and Sam Hunt’s “Body Like a Back Road” become so desensitized to the thoughts and feelings of females that they can’t imagine them doing anything but shaking their asses on tailgates?

Now, I can’t truthfully say I hate all this music, and there are good or decent songs in all of these artists’ catalogues. I’m not close-minded enough to say everything they release is pure shit, and I will be the first to praise good material from them. As far as Sam hunt, some of his music would be fine in pop, it’s just not country. But can you not understand how offensive these songs are to women? We are treated like objects in these songs, as Maddie & Tae pointed out in “Girl in a Country Song.” There’s a reason that song was a hit–women everywhere related to it. It’s not a compliment to tell me to “slide that sugar shaker over here’ or to say I have a “body like a back road.” I said I wasn’t going to state my back story, but I will say that I have been “complimented” in this way, and when that’s all you hear, all it makes you feel is cheap. Women want to be told we’re beautiful, not just sexy, and we want to be appreciated for our minds, not just our bodies. And we have dreams beyond driving around in some guy’s truck on Friday night with our bare feet on the dashboard.

And women, you’re selling yourself short if some of this doesn’t offend you. These songs objectify us and make us things to be possessed; indeed, the article even says the artists “get’ the girls. It’s why women have disappeared so drastically from the airwaves in such a short time. Who wants to listen to a song by a female? How can a woman even have an intelligent thought when all she does is drive around in a truck with a guy? Nobody wants to hear her point of view; they want to hear from the guy who’s “getting” her. Pretty much the only consistent exception on country radio is Kelsea Ballerini, and that’s because she’s sold herself short to sing about being this type of girl.

It’s fine if you like this music, I’m not attacking you for personal taste. This is not an attack on the artists either; some of them seem like perfectly nice people. This is simply about the music and the lyrics and the lessons they teach. and if you think I’m making a big deal out of this, I refer you back to the Whiskey riff article. People are simply jealous because they weren’t good-looking and popular and didn’t get the girls. The writer doesn’t even consider the girls at all in making this argument. That’s how insignificant songs like this make females. He didn’t even take into account females who might have a problem with this when he made that assumption because all he could see were losers who didn’t get them. And if a large portion, as he says, can relate to this type of music, then a large portion of the country are learning to be sexist pigs and think it’s normal. And I know this will not change a thing, but I can’t stand by either. Next time, consider your audience before you make an idiotic statement like this.

P.S. None of these artists are good-looking/sexy at all, give me a man who sings bass, and actually knows a George strait song instead of just name-checking him to sound cool.

P.P.S. Can you please refrain from writing any more stupid pieces, so I can get back to reviewing artists instead of replying to this shit?

Album Review: William Michael Morgan–Vinyl

Rating: 8/10

William Michael Morgan gained the attention of traditionalists about a year ago, when he released “I Met a Girl,” the decidedly country, if lyrically underwhelming, arrangement of a song written by none other than country music antichrist Sam Hunt. To some, this was a mark against him immediately; to others, myself included, this proved that Morgan cared about the traditional sound of his music. In March, his EP arrived, bringing nothing ground-breaking yet filled with promise and potential.

Review: William Michael Morgan EP

We finally got a full album from Morgan Friday, and although it’s not perfect, it’s an unapologetically country record coming out of mainstream Nashville which is a victory in itself in 2016. It’s not Haggard and Jones country, but it is Strait and Jackson and Keith Whitley country, and that’s exactly what we need right now–a mainstream artist bringing a true country sound to the masses. The Jason Isbells and Turnpike Troubadours of the world won’t get airplay; William Michael Morgan’s “I Met a Girl” will hit #1 this week. Because of this, we need to root for William Michael Morgan as much as Isbell and the Troubadours. With all that in mind, I’ll get to my thoughts on Vinyl

The album opens with “People Like Me,” a decidedly country song that could have been a hit on 90;s radio. If you read this at all, you know the importance I place on openers, and this one signifies William Michael Morgan’s country approach without apology. Many artists who are releasing pretty good albums with a few terrible singles choose the said terrible singles as openers, thereby hurting the album as a whole–Zac Brown Band’s “Beautiful drug,” anyone? The premise of “People Like Me” is an ode to the working class people who didn’t go to college and live paycheck to paycheck. “Vinyl,” the title track, follows; I have mixed opinions about this one. I quite liked it on the EP; it’s a song about an old-fashioned love that is classic like vinyl. It’s not a hookup song or disrespectful by any means, but I do find the repeated use of ‘girl” to be annoying; it’s the same thing we criticize Florida Georgia line for, so I can’t let Morgan get by with lazy lyricism even if it has country instrumentation. It’s hard to form an opinion here, and I can see how people could enjoy it or hate it.

“Missing” is one of the highlights of the album; here, Morgan escapes the world for awhile to go “on a mission to be missing.” He ignores his messages and leaves the world behind, something we all should do a little more often. The instrumentation and production combine to make this a really fun and enjoyable listen. Next is the single, “I Met a Girl,”–this has grown on me considerably since its release. It’s a very basic song about, well, meeting a girl, but although the lyrics aren’t earth-shattering, there’s a sincerity about it that really stands out. “Spend it All on You” is a nice, lighthearted track about getting away with a girl to enjoy time together. This one is one of the more modern-leaning songs on the album, but modern-leaning is the key here; it is still traditional. IN fact, the whole album stays with a definite traditional sound. “Beer Drinker” came from the EP; there is not much to say about this song. Its lyrics could be considered shallow by some, as it attributes everything that gets done to the work of beer drinkers. However, as I stated in the EP review, we all love George Strait’s “Stop and Drink,” and that doesn’t come off pandering at all. It is just a fun song that doesn’t take itself too seriously, and I think “Beer Drinker” is intended to be much the same.

“I Know Who he Is” is another highlight; I wish the production were a little less modern-leaning here, but the lyrics are great. The narrator is talking to the doctor about his dad, who is suffering from Alzheimer’s disease;

I don’t wanna hear he’s going downhill, what about thank God he’s around still? Looking right through me’s not at all the way I see him. I don’t mind at all remembering for him, he doesn’t have to get why I adore him. He doesn’t have to know me, I know who he is.

“Cheap Cologne” carries a throwback, Keith Whitley style sound that really suits Morgan. This was one of the highlights of the EP and is about a man who lies at home in bed with his bourbon while his woman is out, probably cheating–She don’t smoke cigarettes, and I don’t wear cheap cologne.” “Something to drink About” is similar to “Beer Drinker” in that it walks a fine line between safe and shallow. It just lists all the possible reasons for drinking, which again is quite like strait’s “Stop and Drink.” This could have been left off and it would have made no difference, but it doesn’t really hurt the album either. “Lonesomeville,” co-written by William Michael Morgan, is the best of the album–it’s a classic country heartbreak song that has been told thousands of times, and that’s really all I can say about it. It speaks for itself with a listen. The album closes with “Backseat driver,” which has emerged over several listens as a dark horse for my personal favorite. It’s a song about a young man leaving home while his dad gives him advice about the road ahead and tells him, “I can’t be your backseat driver anymore.” This one isn’t as traditional as some of the others, but this one is more believable from the 22-year-old Morgan, and this authenticity makes it stand out.

Overall, this is a really solid album, especially for a debut. William Michael Morgan is perfectly clear and uncompromising in his desire to make country music with a traditional sound. The lyrics are weak in places, and there are definitely some safe songs. This album has its flaws, but it also has several standouts. Most importantly, it is filled with promise for William Michael Morgan and for mainstream country in general.

Listen to Album

Review: William Michael Morgan EP

Rating: 8/10

In the constant fight to take back country music, many people point to the outlaw movement of the 1970s and call on another Willie or Waylon–an “outlaw” who will ignore labels altogether and make the music he or she wants to make. The outlaws were responsible for turning country back from the softer, more commercial Nashville sound, and modern examples of this might be Jason Isbell and Sturgill Simpson, both achieving major success without the support of Nashville (although Simpson has since gained Nashville’s attention.) One could also point to Texas artists such as the Turnpike Troubadours, content to stick to their own sound and style rather than sell out for a quick road to greater fame. These “outlaws” are certainly necessary if country music is ever to be saved–but there is another kind of savior, less talked about but no less important. In 1981, one Texas-based artist was signed to MCA for one single. He was thought to be too traditional for radio, but he was given one chance. That artist was George Strait, who would go on to have arguably the biggest career in country music and who remains signed to MCA to this day. He did as much to save country music as the outlaws, but from a different, more radio-friendly angle. In 2016, we need these advocates just as much as the Jason Isbells and Turnpike Troubadours of the world, maybe more, because they are the ones who will start to turn the tide from the inside. This is why we fight and root for Chris Stapleton, Maddie & Tae, and now, William Michael Morgan.

William Michael Morgan, a 22-year-old singer-songwriter from Mississippi, caught the attention of traditionalists last year when he released the single, “I Met a Girl,” co-written by none other than country music antichrist Sam Hunt. I’ll be honest here; I was underwhelmed by the song itself, but I was impressed with Morgan’s traditional country voice and style, as well as the fact that he’d rearranged a Sam Hunt co-write into a decent country song, and I was ready to hear more. An EP is only a taste of what we can expect from an album, and it is certainly not the ideal way to judge an artist–this is the first one I’ve reviewed–but this EP reinforces my faith in William Michael Morgan as someone whom we should be watching.

The front half of the EP is slightly more radio-friendly than the back half. It is obvious William Michael Morgan and his team are trying to appeal to more modern country fans while still sounding traditional. “Vinyl” is a solid song about an old-fashioned love that is classic, like a vinyl record. I notice immediately two things: this song is very country, while still being relatively radio-friendly, and the repeated references to “girl.” This repeating of “girl” is akin to bro country and might be annoying to people, but this is a love song; it’s not a song about hooking up in a cornfield. Its lyrics are respectful, and it sounds country. Next is “Beer Drinker,” a song attributing all the things that get done, from the steak you’re eating to the hot tub you’re enjoying, to the work of beer drinkers. This could be seen as clich├ęd and pandering lyrically, but it comes across more like George Strait’s “Stop and Drink,” a fun, catchy song we all accept as lighthearted country that doesn’t take itself too seriously. “I Met a Girl” is next, and it works better on the album; it’s a simple love song about just this–meeting a girl and being infatuated with her. Once again, though the lyrics could be better, they are respectful and simple, and this is the type of song that could do well on radio. The thing which impresses me most with this half of the EP is how country it sounds; this is the half with songs that could be successful singles, and yet Morgan stays very country and makes his approach quite clear.

However, the weakness with the front half of the EP is the lyricism. The songs are solid, but nothing holds my attention. “Lonesomeville,” the only song co-written by William Michael Morgan, changes this. Here we have a simple, traditional country heartbreak song; the narrator is living in Lonesomeville and missing a woman who left. It’s something a thousand country songs have said before, but at the same time, this simplicity and honesty is lost to us in 2016. It’s the emotion of George Strait and Alan Jackson, simple and relatable to listeners everywhere. This simplicity is present again in “Cheap Cologne,” in which the narrator lies in bed while his woman is out at a bar, probably cheating–“She don’t smoke cigarettes, and I don’t wear cheap cologne.” This reminds me stylistically of something Keith Whitley might have sung in the late 80s, steeped in steel guitar but looking ahead to more modern country. The EP closes with “Backseat Driver,” a song about a father sending his son off with “a Bible on the dash and a map tucked in the door, I can’t be your backseat driver anymore.” This song is more modern-sounding, but the lyrics here are very strong and make it a standout.

This EP is all we have to go on with William Michael Morgan, and it’s not the best way to form an opinion of an artist, but Morgan shows a lot of potential. The strengths are his country voice and commitment to a more traditional sound. We need people like Morgan, who will sound traditional but who can bring that sound into the mainstream with simplicity and honesty. There are much better albums, and this EP certainly has its flaws, mainly the lyrics. However, William Michael Morgan is one of the bright spots in mainstream country music, and we can be thankful for another voice in the fight to take country back. I’ll be looking forward to a full-length album from him!

Listen to EP

The 51st Annual ACM Award Nominees, With Commentary

This morning, (2/1), the nominees for the 2016 Academy of Country Music (ACM) Awards were revealed on CBS the Morning and ETOnline.com. The ACM Awards will take place on April 3rd at the MGM Grand Ballroom in Las Vegas and air on CBS. For the first time in several years, Blake Shelton will not be one of the hosts–this year it will be Blake’s former co-host, Luke Bryan, along with Dierks Bentley. This seems an unlikely pair to say the least, but we’ll see on April 3rd. Here are the nominees, along with predictions, preferences, and some personal commentary.

Video of the Year

“Biscuits”–Kacey Musgraves, directed by Mark Klausfeld, produced by Nicole Acacio
“Burning House”–Cam, directed by Trey Fanjoy, produced by Trent Hardville
“Girl Crush”–Little Big Town, directed by Karla Welch and Matthew Welch, produced by Amanda Prunesti
“Mr. Misunderstood”–Eric Church, directed by Reid Long and John Peets, produced by Megan Smith
“Riser”–Dierks Bentley, directed by Wes Edwards, produced by Jennifer Rothlein
Prediction: “Burning House” or “Riser”
Preference: none

New Male Vocalist of the Year

Good to see the ACM’s breaking down this category again, as for the past several years it has been simply “New Artist.”

Brett Eldredge [no]
Chris Janson [no]
Thomas Rhett [really?]
Chase Rice [hell no]
Chris Stapleton [thank God]
Prediction: Chris Stapleton
Preference: Chris Stapleton…I would prefer Chris Stapleton anyway, but out of these, do I really have a choice?
Note: When is Thomas Rhett going to stop getting nominated for New Artist awards?

New Female Vocalist of the Year

Kelsea Ballerini [no]
Cam [yes!]
Mickey Guyton [good]
RaeLynn [oh God no]
Prediction: Cam or Kelsea Ballerini
Preference: Cam
Note: Only four artists here…what happened to including more women? This is the only category to be missing an artist….and if we can nominate Thomas Rhett, surely we can nominate Ashley Monroe or Jana Kramer. Many more if they knew how to think outside the box…Jamie Lin Wilson anyone? Having said that, I’m impressed with the inclusion of Mickey Guyton, it is well deserved.

New Vocal Duo or Group of the Year

A Thousand Horses [ok]
Brothers Osborne [good]
Maddie & Tae [yes]
Old Dominion [please]
Parmalee [no]
Prediction: Maddie & Tae
Preference: Maddie & Tae
Note: I am sorry that Maddie & Tae and Brothers Osborne must be in the same category with the likes of Old Dominion. Maddie & Tae really deserve this award and should win it…they deserve to be the Duo of the Year, but this would involve de-throning Florida Georgia Line.

Vocal Event of the Year

“Hang Over Tonight”–Gary Allan featuring Chris Stapleton, produced by
Gary Allan and Greg Droman, MCA Nashville
“Home Alone Tonight”–Luke Bryan featuring Karen Fairchild, produced by Jeff Stevens and Jody Stephens, Capitol Nashville
“Raise ’em Up”–Keith Urban featuring Eric Church, produced by Nathan Chapman and Keith Urban, Hit Red Records/Capitol Nashville
“Smokin’ and Drinkin'”–Miranda Lambert featuring Little Big Town, produced by Frank Liddell, Chuck Anilay, and Glenn Worf, RCA Nashville
“Wild Child”–Kenny Chesney with Grace Potter, produced by Buddy Cannon and Kenny Chesney, Blue Chair Records/Columbia Nashville
Prediction: “Raise ’em Up”
Preference: “Wild Child” out of these, but there are better nominees by far.
Note: Why is “Hang Over Tonight” being nominated for anything? This was not successful commercially or critically, has stalled Gary Allan’s entire career, and cost him millions of fans…but let’s nominate it for an ACM, makes perfect sense. “Home Alone Tonight” is trash, “Smokin’ and Drinkin'” is just there, and the others are decent. Terrible list altogether. The CMA nominated Willie and Merle’s collaboration album at least.

Single Record of the Year

Interestingly, or stupidly, the Song of the Year and Songwriter of the Year nominees are not out yet and should be announced “in the coming weeks”…Song of the Year has traditionally been about critical acclaim, and Single Record was for commercial success, but lately they have become somewhat interchangeable.

“Burning House”–Cam, produced by Jeff Bhasker, Tyler Johnson, and Cameron Ochs, Arista Nashville/RCA Records/Kravenworks [excellent]
“Buy me a Boat”–Chris Janson, produced by Brent Anderson, Chris DuBois, and Chris Janson, Warner Music Nashville [no]
“Die a Happy Man”–Thomas Rhett, produced by Dan Huff and Jesse Frasur, The Vallory Music Co. [to be expected, but hell no]
“Girl Crush”–Little Big Town, produced by Jay Joyce, Capitol Records Nashville [yes]
“I’m Comin’ Over”–Chris Young, produced by Corey Crowder and Chris Young, RCA Nashville [decent]
Prediction: No idea…this could go to Cam, Thomas Rhett, or Little Big Town, if we’re talking commercial success. All three would deserve it based on this.
Preference: “Burning House” or “Girl Crush”
Note: The only thing I’m certain of here is that Chris Young has absolutely no chance.

Album of the Year

I’m Comin’ Over–Chris Young, produced by Corey Crowder and Chris Young, RCA Records [lol]
Montevallo–Sam Hunt, produced by Zach Crowell and Shane McAnally, MCA Nashville [never]
Mr. Misunderstood–Eric Church, produced by Jay Joyce, EMI Records Nashville [yes]
Tangled up–Thomas Rhett, produced by Dan Huff, Jesse Frasur, and Chris Destafano, The Vallory Music Co. [absolutely horrifying]
Traveller–Chris Stapleton, produced by Dave Cobb and Chris Stapleton, Mercury Records [yes]
Prediction: Traveller
Preference: Traveller
Note: Glad to see Eric Church with a nomination here, and disappointed in the lack of women. Thomas Rhett’s Tangled Up is even worse than Montevallo which is saying something…some good nominees, but a bad category overall. At least Stapleton is now a front runner, after his upsets at the CMA’s. But Kacey Musgraves should definitely have a nomination here. The fact that Chris Young’s boring effort is here is completely laughable.

Vocal Duo of the Year

Brothers Osborne [good]
Dan + Shay [no]
Maddie & Tae [yes]
Joey + Rory [good]
Florida Georgia Line[no]
Prediction: Maddie & Tae…going out on a limb.
Preference: Maddie & Tae
Note: I don’t think Florida Georgia Line will do it again…they’ve slipped in popularity. Also, never underestimate the power of the sympathy vote for Joey + Rory, cancer is a powerful thing. I’m glad to see Joey + Rory with a nomination too, but they shouldn’t get the win…that right belongs to Maddie & Tae, and enough splitting of the votes may happen here that we will see them take it.

Vocal Group of the Year

Wow, what an awful category.

Eli Young Band [no]
Little Big Town [yes]
Old Dominion [for the love of God]
Rascal Flatts [no]
Zac Brown Band [not after this year….”Beautiful Drug” is not worth any recognition, even if the group is]
Prediction: Little Big Town…they’ve become the Miranda Lambert of the Vocal Group category.
Preference: Little Big Town
Note: Can we give it to Turnpike Troubadours?

Male Vocalist of the Year

Jason Aldean [no]
Dierks Bentley [good]
Eric Church [yes]
Brett Eldredge [lol]
Chris Stapleton [yes]
Prediction: Eric Church or Chris Stapleton
Preference: Chris Stapleton, but I’d be happy with Eric.
Note: No Blake Shelton…interestingly, Blake Shelton was shut out entirely from this extravaganza.

Female Vocalist of the Year

Kelsea Ballerini [no]
Jana Kramer [good]
Miranda Lambert [duh]
Kacey Musgraves [good]
Carrie Underwood [good]
Prediction: Miranda Lambert–like with the CMA’s, I’m not an idiot.
Preference: Carrie Underwood
Note: Glad to see Jana Kramer with a nomination…if we could have replaced Kelsea with Ashley Monroe, this would have been a pretty fair list.

Entertainer of the Year

Jason Aldean [no]
Garth Brooks [good]
Luke Bryan [duh but no]
Eric Church [good]
Miranda Lambert [good]
Prediction: Luke Bryan, with an outside chance of Garth Brooks
Preference: Garth Brooks

Billboard Country Airplay and Country Albums Chart (November 28th)

Billboard Country Airplay

1. Chris Young–“I’m Comin’ Over” (up 2)
2. Cole Swindell–“Let Me See Ya Girl”
3. Carrie Underwood–“Smoke Break” (up 1)
4. Dan + Shay–“Nothin’ Like You” (up 1)
5. Blake Shelton–“Gonna” (up 1)
6. Old Dominion–“Break Up With Him” (down 5)
7. Jason Aldean–“Gonna Know We Were Here” (up 1)
8. Tim McGraw–“Top of the World” (up 1)
9. Cam–“Burning House” (up 1)
10. Brothers Osborne–“Stay a Little Longer” (up 1)
11. Thomas Rhett–“Die a Happy Man” (up 1)
12. LoCash–“I Love this Life” (up 2)
13. Parmalee–“Already Callin’ You Mine”
14. Jana Kramer–“I Got the Boy” (up 1)
15. Kelsea Ballerini–“Dibs” (up 2)
16. Big & Rich–“Run Away With You”
17. Sam Hunt–“Break Up in a Small Town” (up 2)
18. Granger Smith–“Back Road Song” (up 2)
19. Randy Houser–“We Went” (down 1)
20. Brad Paisley–“Country Nation” (up 1)
21. Hunter Hayes–“21” (up 1)
22. Zac Brown Band–“Beautiful Drug” (up 1)
23. Chase Bryant–“Little Bit of You” (up 1)
24. A Thousand Horses–(“This Ain’t No) Drunk Dial” (down 1)
25. Keith Urban–“Break On Me” (up 4)
26. Rascal Flatts–“I Like the Sound of That” (up 2)
27. Dierks Bentley–“Riser” (down 1)
28. Lee Brice–“That Don’t Sound Like You” (down 1)
29. Luke Bryan and Karen Fairchild–“Home Alone Tonight” (entering top 30)
30. Eric Church–“Mr. Misunderstood” (entering top 30)

  • new #1: “I’m Comin’ Over” [an actual good song]
  • next week’s #1 prediction: “Smoke Break
  • the atrocity that is “Home Alone Tonight” enters the top 30 this week, along with a good song, Eric Church’s “Mr. Misunderstood”
  • Florida Georgia Line’s “Anything Goes” finally fell from #7 to out of the top 30

Billboard Top Country Albums

1. Chris Stapleton–Traveller
2. Eric Church–Mr. Misunderstood
3. Tim McGraw–Damn Country Music [debut]
4. Carrie Underwood–Storyteller
5. Old Dominion–Meat and Candy [debut]
6. Luke Bryan–Kill the Lights
7. Sam Hunt–Montevallo
8. Blake Shelton–Reloaded: 20 #1 Hits
9. Josh Abbott Band–Front Row Seat
10. Thomas Rhett–Tangled Up
11. Cole Swindell–Down Home Sessions II (EP) [debut]
12. Little Big Town–Painkiller
13. Chris Janson–Buy me a Boat
14. Don Henley–Cass County
15. George Strait–Cold Beer Conversation
16. Hunter Hayes–21 Project
17. Eric Church–The Outsiders
18. Zac Brown Band–Jekyll + Hyde
19. Alan Jackson–Genuine: the Alan Jackson Story
20. Sam Hunt–Between the Pines: Acoustic Mixtape (EP)
21. Florida Georgia Line–Anything Goes
22. Alabama–Southern Drawl
23. Various Artists–Now That’s What I Call Country, Volume 8
24. Jason Aldean–Old Boots, New Dirt
25. Brett Eldredge–Illinois

  • Chris Stapleton enjoys a 2nd week at #1 with Traveller
  • Tim McGraw’s mostly good Damn Country Music debuts at #3
  • Josh Abbott Band’s concept album, Front Row Seat, debuts at #9

Source: Billboard