MCM Home
October 12, 2014
| Album |
LW |
TW |
Artist Title (Label) |
TW SPINS |
LW SPINS |
Weeks on Chart |
Spin +/- |
Stations |
|
1 |
1 |
Kevin Fowler Panhandle Poorboy (Kevin Fowler Records) |
1,422 |
1,450 |
14 |
-28 |
73 |
|
|
2 |
2 |
Mike Ryan Dancing All Around It (MR) |
1,320 |
1,341 |
19 |
-21 |
68 |
|
|
3 |
3 |
Micky & the Motorcars Hearts From Above (Smith Ent.) |
1,293 |
1,316 |
14 |
-23 |
73 |
|
|
5 |
4 |
Sunny Sweeney Bad Girl Phase (Thirty Tigers) |
1,280 |
1,215 |
13 |
+65 |
73 |
|
|
7 |
5 |
Pat Green w/Lyle Lovett Girls From Texas (Sugar Hill Records) |
1,126 |
1,005 |
6 |
+121 |
71 |
|
|
4 |
6 |
Josh Grider One Night Taco Stand (AMP) |
1,116 |
1,310 |
14 |
-194 |
64 |
|
|
9 |
7 |
Stoney LaRue Golden Shackles (eOne Music) |
1,086 |
975 |
8 |
+111 |
71 |
|
|
6 |
8 |
Cameran Nelson Shotgun (CN) |
1,055 |
1,057 |
14 |
-2 |
58 |
|
|
8 |
9 |
Brian Keane You Can’t Go Home (BK) |
1,040 |
977 |
12 |
+63 |
62 |
|
|
19 |
10 |
Wade Bowen When I Woke Up Today (Lightning Rod Records) |
889 |
772 |
6 |
+117 |
62 |
|
|
13 |
11 |
LiveWire Drivin’ You Outta My Mind (Way Out West Records) |
879 |
866 |
17 |
+13 |
50 |
|
|
18 |
12 |
Sam Riggs Hold On and Let Go (SR) |
851 |
782 |
10 |
+69 |
61 |
|
|
16 |
13 |
Josh Abbott Band Hangin’ Around (Warner/Atlantic) |
849 |
806 |
5 |
+43 |
68 |
|
|
14 |
14 |
Phil Hamilton Dirty Love (Winding Road) |
819 |
850 |
13 |
-31 |
51 |
|
|
15 |
15 |
Matt Hillyer A Little Less Whiskey (MH) |
809 |
813 |
13 |
-4 |
59 |
|
|
11 |
16 |
Deryl Dodd One Night Too Long (Smith Ent.) |
734 |
897 |
20 |
-163 |
50 |
|
|
26 |
17 |
Jon Wolfe What Are You Doin’ Right Now (JW) |
725 |
642 |
8 |
+83 |
51 |
|
|
10 |
18 |
Granger Smith If Money Didn’t Matter (GS) |
724 |
930 |
22 |
-206 |
56 |
|
|
25 |
19 |
Randy Rogers Band She’s Gonna Run (MCA Nashville) |
713 |
650 |
4 |
+63 |
61 |
|
|
22 |
20 |
Kyle Park Turn That Crown Upside Down (Indie/Thirty Tigers) |
712 |
698 |
4 |
+14 |
61 |
|
|
21 |
21 |
John Slaughter Horseshoes & Hand Grenades (JS) |
704 |
712 |
11 |
-8 |
51 |
|
|
24 |
22 |
Shane Smith & The Saints Dance the Night Away (SSS) |
675 |
691 |
12 |
-16 |
50 |
|
|
17 |
23 |
Bart Crow If I Go, I’m Goin’ (Smith Ent.) |
643 |
789 |
21 |
-146 |
45 |
|
|
27 |
24 |
Mark McKinney Maybe We Should (Texas Evolution) |
619 |
623 |
9 |
-4 |
53 |
|
|
12 |
25 |
Zane Williams Hands of a Workin’ Man (ZW) |
598 |
868 |
17 |
-270 |
49 |
|
|
31 |
26 |
Curtis Grimes Baby Don’t Cry (CG) |
559 |
516 |
3 |
+43 |
47 |
|
|
23 |
27 |
Cody Johnson Me & My Kind (CJB) |
542 |
693 |
16 |
-151 |
43 |
|
|
29 |
28 |
JB and the Moonshine Band Yes (Average Joe’s) |
541 |
558 |
12 |
-17 |
48 |
|
|
30 |
29 |
Gabe Garcia Missing (396 Entertainment) |
538 |
518 |
5 |
+20 |
43 |
|
|
36 |
30 |
Mario Flores High on Summertime (MF) |
536 |
485 |
5 |
+51 |
38 |
|
|
20 |
31 |
Ray Johnston Band More Crown Than Coke (RJB) |
521 |
761 |
22 |
-240 |
43 |
|
|
28 |
32 |
The Statesboro Revue Live A Little (Vision Ent./Shalley Records) |
507 |
579 |
21 |
-72 |
32 |
|
|
33 |
33 |
Dolly Shine Her Name Was Trouble (DS) |
501 |
499 |
10 |
+2 |
38 |
|
|
34 |
34 |
Tyler and the Tribe Can I See You Again (TATT) |
496 |
491 |
9 |
+5 |
40 |
|
|
38 |
35 |
Sean McConnell Bottom Of The Sea (SM) |
479 |
445 |
8 |
+34 |
42 |
|
|
35 |
36 |
Charlie Robison Look Out Cleveland (Thirty Tigers/Jetwell, Inc.) |
466 |
486 |
13 |
-20 |
43 |
|
|
39 |
37 |
Jason Eady Lonesome Down and Out (JE) |
453 |
433 |
4 |
+20 |
42 |
|
|
37 |
38 |
Casey Berry Fool (80615 Entertainment) |
430 |
464 |
16 |
-34 |
37 |
|
|
50 |
39 |
Brandon Rhyder That’s Just Me (Reserve Records) |
405 |
295 |
2 |
+110 |
40 |
|
|
42 |
40 |
Kris Gordon Worth a Shot (Frio Records) |
401 |
380 |
6 |
+21 |
38 |
|
|
41 |
41 |
Junior Gordon County Fair (JG) |
396 |
392 |
7 |
+4 |
37 |
|
|
40 |
42 |
Clay Thrash Ain’t No Law (Grange Records) |
395 |
393 |
3 |
+2 |
33 |
|
|
44 |
43 |
Green River Ordinance She Is In The Air (GRO) |
390 |
345 |
2 |
+45 |
38 |
|
|
N |
44 |
Reckless Kelly The Girl I Knew (No Big Deal) |
384 |
262 |
1 |
+122 |
38 |
|
|
43 |
45 |
Jason Cassidy Take It Off (JC) |
368 |
346 |
4 |
+22 |
40 |
|
|
N |
46 |
TJ Broscoff My Dear (BGM Records) |
338 |
261 |
1 |
+77 |
32 |
|
|
45 |
47 |
Aaron Einhouse Blue Collar Troubadour (AE) |
336 |
336 |
4 |
—– |
35 |
|
|
48 |
48 |
Jake Ward w/Melissa Brooke Hit The Road (JW) |
336 |
298 |
2 |
+38 |
32 |
|
|
46 |
49 |
The Rusty Brothers The Devil (Revisited) (Vision Ent.) |
314 |
324 |
7 |
-10 |
31 |
|
|
47 |
50 |
Rodney Crowell Long Journey Home (RC) |
310 |
310 |
9 |
—– |
33 |
Non Reports:
1st Week: KYBI, TXRDR
Freezes: KACO, KBST, KFWR, KNUE, KOLI, KOXE, KSNY, KXAX, Radio Texas Live
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.
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!
A LITTLE MIRACLE IN ASHFORD, ALABAMA
you usually wind up taking circuitous routes,
and getting stranded in places you never knew existed,
and meeting people who are surprised that you exist.
We were once detained as suspected chain gang escapees,
which is where this story will eventually arrive.
You may be trying to go north,
but find yourself heading east or west,
and happy to get a ride,
to get off the side of a long and often creepy road.
When hitching you see the roads differently.
You notice the gum wrappers, cracks, puddles,
weeds and insects on the shoulders.
You get to know them well, sometimes being there for many hours.
A bend in the highway that cars disappear around in seconds,
is a mystery to you.
Maybe there’s a town up there,
or an old gas station where you might get water, or a lucky ride,
or more endless miles of nothing,
Hitch-hiking to a place a thousand miles from where you start
can easily cover almost double the AAA route,
moving laterally as often as forward.
And you can plan on a number of extra days
in the burning sun or cold rain.
This isn’t all bad.
Looking back on it It’s an adventure.
At the time it seemed like punishment.
Bob Egan and I were trying to get back to Buffalo from Florida,
and got dropped off at nightfall in a tiny southern town,
by a bakery truck driver going in for the night.
The two-lane county road traffic amounted to a vehicle an hour,
it was dark and getting chilly,
we hadn’t eaten, and were practically broke.
We were in Ashford, Alabama,
at the intersection of US84 (now called “Old US 84”),
and the road going northward was the narrow County Road 55.
There was a streetlight on the corner, so we stood under it,
trying to look wholesome and non-threatening.
Kids from the village came around to watch us stand there.
We were the biggest thing going on in town.
They were just a few feet from us,
but we couldn’t understand a single word they said.
We were from another planet.
After an hour or maybe three,
a dump truck rumbled toward us from the wrong direction.
Shovels were hanging on its sides and clanging.
It stopped and large elderly man in a plaid shirt got out.
He was the sheriff or maybe the chief constable.
The big man was friendly, but said he had to take us in
because we fitted the description of two chain gang escapees…
two young Yankee fellas, one dark-haired and one blond.
We tried to tell him how innocent and nice we were,
but the report said that they were smooth talkers,
and not to believe anything they said.
We climbed up into the truck cab
and he drove us about two blocks to the police station,
where we sat and were given coffee and a sandwich,
while the sheriff made some phone calls.
The police station was on Main,
which in my memory was an unpaved dirt street.
After a while he said “We don’t have a regular jail here,
but we’ve got a place for you to stay until court in the morning.”
Then he drove us to a big wooden house of indeterminate color,
and introduced us to a matronly lady
who was the proprietor of this rooming house.
She was as friendly as he was,
but we were surely headed for life on the chain gang,
and that took a little edge off the fun.
We did get some needed sleep and some breakfast in the morning.
The rugged old cop picked us up
and said we had been cleared of all suspicions.
He drove us to the county line.
Like an idiot I said “Good luck catching those guys.”
He waved out the truck window and headed back to town.
It only took a few decades for me to figure out what really happened.
He knew we would be stuck all night on that corner.
He could see that we were tired and probably hungry,
and he made the phone call to the boarding house lady
to put us up for the night.
There were no escaped convicts.
Just two youthful strangers who needed some help.
I have a warm spot in my heart for Ashford, Alabama,
and those good people.
© 2014.
Jack Blanchard & Misty Morgan...
Home Page: http://www.jackandmisty.net
Awards: Grammy, Billboard, CMA, BMI, ASCAP.
Mastering & restoration studio: 352-530-2068.
Email: jackandmisty@gmail.com.
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.