JasonR
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HOTDISC TOP 40 |
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To watch the video for each song (where available) click on the titles.
THE HOTDISC BRITISH & IRISH INDEPENDENT TOP 10
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The Hotdisc chart is compiled from DJs and industry professionals’ ratings of songs currently being promoted on the Rush Released CD. They are not airplay charts, as airplay charts cannot work in Europe because there are no terrestrial country stations. The hundreds of country programmes on air which we service are likely to play a particular song only twice at most in a three month period, therefore rendering airplay charts insignificant in Europe. It works well in America where there are plenty of non-stop country stations but it does not work here. Any Airplay Chart you may see claiming to provide this service is bogus and Hotdisc does not condone these charts at all. They are misleading at best for the reasons stated.
The Hotdisc charts are put together weekly using ratings supplied by DJs who give scores to every song on the last three months’ editions of Rush Released. The scores are averaged out per week to give an accurate guide to the songs which are being championed by the industry. The aim is to showcase the songs which the industry professionals are flagging up as quality songs. This is a very useful exercise as it is free of politics, hype and rigging and done solely on merit!
Copyright © 2014, Hotdisc, The Old Manse, Hallidays Park, Selkirk, TD7 4LA, Scotland. Used with permission from HotDisk.
About Fred’s Country program:
Le program Fred’s Country: La musique Country de Tradition avec Frederic (Fred) Moreau. Le program Fred’s Country est diffusé sur 65 fréquences FM, 53 radios ou webradios.
The Fred’s Country program, is hosted by Frederic (Fred) Moreau and broadcasted weekly on 47 frequencies, 53 Affiliated FM and Web Radio Stations in France, Canada, Belgium, Spain, and more. Listen, download The Fred’s Country program here…
Autre particularité du program Fred’s Country, c’est la seule émission en Europe à programmer un minimum de 75% d’artistes Canadiens … particularity of the Fred’s Country program, each week, a minimum of 75% of Canadian Country artists on the air
Radio Show Host: Fred Moreau
Program Fred’s Country w41-2014 – 10 octobre 2014 à 15:00 – October 10th, 2014
Music Charts Magazine is proud to be friends with Mr. Moreau and glad to now be one of the many to host Program Fred’s Country. ( French/English)
Radio Program “Fred’s Country” – Now at Music Charts Magazine!
Nu-Blu – an audio interview with Music Charts Magazine’s Big Al Weekley.
Push play and listen in as Big Al Weekley and Carolyn Routh discuss the new release of Nu-Blu’s new Album “All The Way”.
“With this new project we are going all the way by stepping outside of genre boundaries and letting our fusion of musical tastes and interpretations guide us like never before,” says lead singer Carolyn Routh.
To step out and decide to make a living in music takes a tremendous leap of personal and professional courage. For Daniel and Carolyn Routh, however, the husband-and-wife team that founded Nu-Blu, it became a necessity, the way to maintain the life-giving force of their music. Today, even as they continue to grow and reach loftier and bigger goals, they have reason to celebrate: the release of their new project, All The Way, released through Rural Rhythm Records. The album is fueled by the George Jones inspired song “Jesus and Jones,” which has gained attention and exposure nationally across multiple genres.
Nu-Blu, based in Siler City in central North Carolina, is comprised of Carolyn, who handles bass and vocals; Levi Austin on vocals and banjo; Austin Koerner, on mandolin; and Daniel, who is the band’s Renaissance Man – guitarist, singer, manager, and tour coordinator, among many other roles. The group brings its lively and entertaining version of Americana-bluegrass music to audiences across the nation year-round. Their sound acknowledges the traditional institutions that have shaped it, yet is innovative and daring enough to bring a fresh sparkle to contemporary acoustic music that lands them squarely in the forefront of bands blazing the trail in acoustic entertainment. Influences range from the sounds of original bluegrass pioneers like Earl Scruggs, Jimmy Martin and Lester Flatt to rock bands of the 1980’s, and modern contemporary sounds such as Alison Krauss and Union Station. Carolyn’s soprano vocal approach might be described as similar to Ms. Krauss, except she carries a phrasing and emotional elegance that shows a clear originality. Daniel and Levi provide inventive singing to fill out the vocal sound, while all four members present instrumental prowess to impress.
Nu-Blu started back in September 2003 after Carolyn and Daniel, who had played for years in different genres both 
separately and together, decided to devote their efforts to forming Nu-Blu. Despite challenges that included numerous personnel changes, the folding of their original record label, and even a stroke that left Carolyn unable to speak or move her right side, the Rouths were determined to make Nu-Blu a full-time vehicle for them to bring music to their fans. With the addition of Levi in 2007 and Austin in 2011, the magical sound of Nu-Blu was complete, and as the group continues to build a national fan base, audiences are listening. The band is finding itself more and more at home on the radio charts, most recently with the evocative “Jesus and Jones.” The stage is now set for the group to continue its chart trend with the songs from All The Way.
What’s ahead for Nu-Blu? Plenty, you may believe that. Every year, the band logs more miles on the road than the year before, plays more shows than the year before, sleeps more nights on the bus than the year before. But for Daniel, Carolyn, Levi and Austin, it’s not a chore, it’s a way of life. It’s not slogging from one venue to the next, it’s another opportunity to touch their audiences’ lives with music, that great universal bond which closes the gaps of humanity and brings lightness to hearts, smiles to faces and redemption to souls.
“If we can touch somebody on a deep level,” says Daniel Routh, “and create a moment for them that they always will remember and entertains them, that’s gold. If we can say to someone,‘Hey, check this out. If you like this, you’re probably going to like bluegrass!” Really that’s why we’re here.”
Website: http://www.nu-blu.com/
Facebook: https://www.facebook.com/Nu.Blu.Bluegrass.Artists?ref=hl
Twitter: https://twitter.com/nu_blu
Date = 22 July 2014
Artist’s name = Bobby Broom
Genre = Jazz
Title = My Shining Hour
Record company = Origin
Review =
Leader of various recording sessions beginning around 1980, sideman on numerous recording dates headed by the likes of Dizzy Gillespie and David Murray, a regular with Sonny Rollins off and on from the early 1980s until a few years ago, and leader of the Deep Blue Organ Trio beginning in 1999, guitarist Bobby Broom has been much in evidence during the last three decades. The music on My Shining Hour indicates why he is a significant presence on the scene.
One might argue, as some have done, that standard tunes—those that constitute what is called the Great American Songbook—have been performed so frequently that they are effete. Broom’s treatment of them on this CD offers convincing evidence for concluding that this is not the case, that standards have endured for a reason: they are rich enough to inspire seemingly endless interpretations. After deciding to record an album of such material and determining the selections, Broom had to consider the mood he wished for him, bassist Dennis Carroll, and drummer Makaya McCraven to establish. Perhaps surprisingly, he risked listener boredom by opting for uniformity, not variety: the overall mood is mellow, with tempos that are seldom rushed. “The Jitterbug Waltz” is the most sprightly performance, though much of “Just One of Those Things” is gritty; “The Heather on the Hill” is a slow ballad. The other selections are in a middle groove. Yet because of Broom’s inventiveness, this music is vital, not dull.
Solos demonstrate Broom’s creativity. Unfailingly appealing, they evolve from the melodies but, with the exception of the guitarist’s playing on “Sweet Georgia Brown,” hardly even allude to them. That is, they are true improvisations because, while retaining the compositions’ harmonies, they are melodically original. I offer a challenge to people who listen to this release: Have someone set a CD player to start a tune at the beginning of a Broom solo and stop the machine when it concludes. While listening to the music, try to identify the composition he is playing. Doing so will not be easy.
Despite the attractiveness of all the selections, “Oh, Lady Be Good” strikes me as particularly noteworthy. Broom plays the seldom heard verse alone and very slowly before his sidemen join him in stating the melody. Then, for two-and-a-half minutes Broom and McCraven participate in four-bar exchanges, sometimes with Broom playing double time. Such interactions can be predictable and tedious, but these are not.
Because of Broom’s leadership of the Deep Blue Organ Trio, which infuses even standards with a blues feeling, listeners might expect My Shining Hour to include strong blues elements, even though not one of the selections is a blues. There are a few such touches, but not many. Mainly, Broom, Carroll, and McCraven treat the compositions respectfully, capturing their moods and letting their natural beauty emerge. Yet what most recommends this CD is Broom’s soloing, which is imaginative and engaging.
Author = Benjamin Franklin V
Music Charts Magazine® History
– Song for the month of October 2014:
Perry Como – “It’s A Good Day“
“It’s a Good Day” is a popular song written by Peggy Lee and Dave Barbour and published in 1947.
The song has been recorded by many singers since its introduction, most recently by Susie Arioli. The song was also recorded by legendary Judy Garland on a recording of The Judy Garland Show. The most popular version of the song is probably Perry Como’s, released on his 1955 RCA Victor album So Smooth.
The song served as the background score during the opening credits of Indian film director Rajkumar Gupta’s 2008 debut film Aamir.
The FX series Wilfred used the song for the episode “Trust” where it was played in the montage of Ryan and Wilfred’s time in Venice Beach, California.
In the 1999 film Blast From the Past the song played in the background when Father Calvin (Christopher Walken) was checking supplies in the bunker.
The song made an appearance on an episode of America’s Funniest Home Videos.
In 2013, the song (Peggy Lee version) was used as backdrop in commercials for the University of Phoenix.
Read more at:
October 6, 2014
| Album |
LW |
TW |
Artist Title (Label) |
TW SPINS |
LW SPINS |
Weeks on Chart |
Spin +/- |
Stations |
|
3 |
1 |
Kevin Fowler Panhandle Poorboy (Kevin Fowler Records) |
1,450 |
1,262 |
13 |
+188 |
72 |
|
|
1 |
2 |
Mike Ryan Dancing All Around It (MR) |
1,341 |
1,308 |
18 |
+33 |
67 |
|
|
5 |
3 |
Micky & the Motorcars Hearts From Above (Smith Ent.) |
1,316 |
1,141 |
13 |
+175 |
73 |
|
|
2 |
4 |
Josh Grider One Night Taco Stand (AMP) |
1,310 |
1,306 |
13 |
+4 |
70 |
|
|
7 |
5 |
Sunny Sweeney Bad Girl Phase (Thirty Tigers) |
1,215 |
1,040 |
12 |
+175 |
71 |
|
|
10 |
6 |
Cameran Nelson Shotgun (CN) |
1,057 |
996 |
13 |
+61 |
57 |
|
|
13 |
7 |
Pat Green w/Lyle Lovett Girls From Texas (Sugar Hill Records) |
1,005 |
894 |
5 |
+111 |
68 |
|
|
11 |
8 |
Brian Keane You Can’t Go Home (BK) |
977 |
923 |
11 |
+54 |
60 |
|
|
12 |
9 |
Stoney LaRue Golden Shackles (eOne Music) |
975 |
922 |
7 |
+53 |
68 |
|
|
4 |
10 |
Granger Smith If Money Didn’t Matter (GS) |
930 |
1,222 |
21 |
-292 |
56 |
|
|
9 |
11 |
Deryl Dodd One Night Too Long (Smith Ent.) |
897 |
1,010 |
19 |
-113 |
55 |
|
|
6 |
12 |
Zane Williams Hands of a Workin’ Man (ZW) |
868 |
1,068 |
16 |
-200 |
54 |
|
|
14 |
13 |
LiveWire Drivin’ You Outta My Mind (Way Out West Records) |
866 |
861 |
16 |
+5 |
51 |
|
|
16 |
14 |
Phil Hamilton Dirty Love (Winding Road) |
850 |
820 |
12 |
+30 |
53 |
|
|
17 |
15 |
Matt Hillyer A Little Less Whiskey (MH) |
813 |
799 |
12 |
+14 |
57 |
|
|
22 |
16 |
Josh Abbott Band Hangin’ Around (Warner/Atlantic) |
806 |
658 |
4 |
+148 |
67 |
|
|
8 |
17 |
Bart Crow If I Go, I’m Goin’ (Smith Ent.) |
789 |
1,026 |
20 |
-237 |
54 |
|
|
20 |
18 |
Sam Riggs Hold On and Let Go (SR) |
782 |
715 |
9 |
+67 |
58 |
|
|
19 |
19 |
Wade Bowen When I Woke Up Today (Lightning Rod Records) |
772 |
721 |
5 |
+51 |
60 |
|
|
18 |
20 |
Ray Johnston Band More Crown Than Coke (RJB) |
761 |
794 |
21 |
-33 |
52 |
|
|
21 |
21 |
John Slaughter Horseshoes & Hand Grenades (JS) |
712 |
659 |
10 |
+53 |
51 |
|
|
31 |
22 |
Kyle Park Turn That Crown Upside Down (Indie/Thirty Tigers) |
698 |
490 |
3 |
+208 |
60 |
|
|
15 |
23 |
Cody Johnson Me & My Kind (CJB) |
693 |
829 |
15 |
-136 |
46 |
|
|
25 |
24 |
Shane Smith & The Saints Dance the Night Away (SSS) |
691 |
594 |
11 |
+97 |
50 |
|
|
29 |
25 |
Randy Rogers Band She’s Gonna Run (MCA Nashville) |
650 |
530 |
3 |
+120 |
58 |
|
|
26 |
26 |
Jon Wolfe What Are You Doin’ Right Now (JW) |
642 |
580 |
7 |
+62 |
50 |
|
|
24 |
27 |
Mark McKinney Maybe We Should (Texas Evolution) |
623 |
595 |
8 |
+28 |
53 |
|
|
27 |
28 |
The Statesboro Revue Live A Little (Vision Ent./Shalley Records) |
579 |
572 |
20 |
+7 |
35 |
|
|
28 |
29 |
JB and the Moonshine Band Yes (Average Joe’s) |
558 |
534 |
11 |
+24 |
52 |
|
|
33 |
30 |
Gabe Garcia Missing (396 Entertainment) |
518 |
469 |
4 |
+49 |
42 |
|
|
37 |
31 |
Curtis Grimes Baby Don’t Cry (CG) |
516 |
434 |
2 |
+82 |
42 |
|
|
23 |
32 |
Jesse Raub Jr. Good Man Go Wrong (JRJ) |
503 |
629 |
19 |
-126 |
39 |
|
|
36 |
33 |
Dolly Shine Her Name Was Trouble (DS) |
499 |
448 |
9 |
+51 |
36 |
|
|
32 |
34 |
Tyler and the Tribe Can I See You Again (TATT) |
491 |
477 |
8 |
+14 |
40 |
|
|
35 |
35 |
Charlie Robison Look Out Cleveland (Thirty Tigers/Jetwell, Inc.) |
486 |
450 |
12 |
+36 |
46 |
|
|
34 |
36 |
Mario Flores High on Summertime (MF) |
485 |
469 |
4 |
+16 |
36 |
|
|
30 |
37 |
Casey Berry Fool (80615 Entertainment) |
464 |
492 |
15 |
-28 |
38 |
|
|
38 |
38 |
Sean McConnell Bottom Of The Sea (SM) |
445 |
415 |
7 |
+30 |
35 |
|
|
39 |
39 |
Jason Eady Lonesome Down and Out (JE) |
433 |
397 |
3 |
+36 |
40 |
|
|
44 |
40 |
Clay Thrash Ain’t No Law (Grange Records) |
393 |
344 |
2 |
+49 |
34 |
|
|
41 |
41 |
Junior Gordon County Fair (JG) |
392 |
376 |
6 |
+16 |
35 |
|
|
43 |
42 |
Kris Gordon Worth a Shot (Frio Records) |
380 |
344 |
5 |
+36 |
38 |
|
|
48 |
43 |
Jason Cassidy Take It Off (JC) |
346 |
298 |
3 |
+48 |
40 |
|
|
N |
44 |
Green River Ordinance She Is In The Air (GRO) |
345 |
248 |
1 |
+97 |
32 |
|
|
45 |
45 |
Aaron Einhouse Blue Collar Troubadour (AE) |
336 |
324 |
3 |
+12 |
35 |
|
|
46 |
46 |
The Rusty Brothers The Devil (Revisited) (Vision Ent.) |
324 |
314 |
6 |
+10 |
31 |
|
|
47 |
47 |
Rodney Crowell Long Journey Home (RC) |
310 |
312 |
8 |
-2 |
33 |
|
|
N |
48 |
Jake Ward w/Melissa Brooke Hit The Road (JW) |
298 |
271 |
1 |
+27 |
30 |
|
|
49 |
49 |
Dix Hat Band In and Out (DHB) |
297 |
283 |
2 |
+14 |
25 |
|
|
N |
50 |
Brandon Rhyder That’s Just Me (Reserve Records) |
295 |
268 |
1 |
+27 |
34 |
Non Reports:
1st Week: KKCN, KTCS, KVOM
2nd Week: KSAM
Freezes: KBIM, KIXN, KMOO, KMOU, KOKE, KVST, KWEY, KXIT, TXRDR
Copyright © 2014, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX
.
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HOTDISC TOP 40 |
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To watch the video for each song (where available) click on the titles.
THE HOTDISC BRITISH & IRISH INDEPENDENT TOP 10
|
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The Hotdisc chart is compiled from DJs and industry professionals’ ratings of songs currently being promoted on the Rush Released CD. They are not airplay charts, as airplay charts cannot work in Europe because there are no terrestrial country stations. The hundreds of country programmes on air which we service are likely to play a particular song only twice at most in a three month period, therefore rendering airplay charts insignificant in Europe. It works well in America where there are plenty of non-stop country stations but it does not work here. Any Airplay Chart you may see claiming to provide this service is bogus and Hotdisc does not condone these charts at all. They are misleading at best for the reasons stated.
The Hotdisc charts are put together weekly using ratings supplied by DJs who give scores to every song on the last three months’ editions of Rush Released. The scores are averaged out per week to give an accurate guide to the songs which are being championed by the industry. The aim is to showcase the songs which the industry professionals are flagging up as quality songs. This is a very useful exercise as it is free of politics, hype and rigging and done solely on merit!
Copyright © 2014, Hotdisc, The Old Manse, Hallidays Park, Selkirk, TD7 4LA, Scotland. Used with permission from HotDisk.
THE MUSIC BUSINESS USED TO BE MORE FUN.
Misty and I often did shows with Jerry Reed, Roy Clark,
Grandpa Jones, and Archie Campbell.
One of those shows was a week long booking
at Atlanta’s Chastain Park Amphitheater, an outdoor venue.
It was Boots Randolph’s show,
and he always treated the artists, musicians, and staff as honored guests,
with long tables of food and drink backstage,
and a party feeling that carried over to the audiences.
Before the first show, Roy stepped out of his bus
carrying a glass of unknown iced beverage.
Misty said “How’re ya doin’, Roy?”
Roy smiled and said “Gettin’ well, honey.”
The drinks never caused any real problems,
although a couple of times the emcee mistakenly tried to take acts off stage
before they were done.
They were innocent mistakes, and kinda funny.
We were all friends.
Like most amphitheaters, it was bowl shaped,
and the bands were pretty much protected from the weather,
but the act out at the front of the stage could get a little wet if it rained.
This can be a thrill if you are hooked up to electrical equipment.
We had just finished our show and were walking off,
when Archie Campbell was heading out to do his act.
I said “It’s pretty windy out there, Arch.”
Archie ran his hand suavely over his hair and said this:
“I don’t have to worry. I bought the casual style.”
He was always funny… on or off stage.
The crowds were huge and Saturday night was our closing show.
We all met back at the hotel
where Boots and his manager X. Cosse had us staying.
They had the hotel dining room set up like a king’s banquet…
tons of food and anything you want to drink.
It was a party for everybody in the show,
including roadies and friends of friends.
For the first hour everybody was there having a good time,
except Jerry Reed, who was conspicuous in his absence.
He bounced into the room at about 11:30, said quick hellos to the gang,
grabbed a take out box, went through the food table like a lawnmower,
and was gone with the wind and his doggy box of food.
Jerry was on Fast Forward,
and his whole appearance lasted about seven minutes.
He had more energy than a crazed squirrel.
Misty went into his bus and got his autograph when we worked together
at the Citrus Bowl.
We loved Jerry Reed, and he was also my favorite guitar player.
Then, later in the party,
there was some excitement going on at the ballroom door
when some medics rushed in with a stretcher.
We wondered what was up.
Roy Clark grinned, raised his glass, and said goodbye to everybody.
Then he made himself comfortable on the stretcher,
and was carried out to the ambulance and rushed to the airport.
He was late and had a plane to catch.
I’ve tried to reproduce the week’s events exactly as they happened,
down to the finest detail, but remember,
I may have had a beer or two myself.
The music business used to be more fun than it is now,
and we miss all our old friends a lot,
but we’re so lucky to have been part of that wonderful era.
Jack Blanchard.
© 2011, 2014 .
Jack Blanchard & Misty Morgan…
Grammy & CMA Award Finalists.
Billboard Duet of the Year.
Home Page: www.jackandmisty.net
Mastering & restoration studio: 407 330 1611