MusicChartsMagazine.com
Album |
LW |
TW
|
Artist Title (Label)
|
TW SPINS
|
LW SPINS
|
Weeks on Chart
|
Spin +/-
|
Stations
|
4
|
1
|
Roger Creager For You I Do (Roger Creager Music)
|
1,324
|
1,225
|
12
|
+99
|
70
|
|
1
|
2
|
William Clark Green She Likes The Beatles (Bill Grease Records)
|
1,300
|
1,387
|
12
|
-87
|
72
|
|
3
|
3
|
Granger Smith Silverado Bench Seat (GS)
|
1,289
|
1,292
|
12
|
-3
|
68
|
|
13
|
4
|
Turnpike Troubadours Before The Devil Knows We’re Dead (Bossier City)
|
1,121
|
868
|
6
|
+253
|
67
|
|
10
|
5
|
JB and the Moonshine Band The Only Drug (Average Joe’s)
|
1,104
|
1,005
|
12
|
+99
|
67
|
|
7
|
6
|
The Departed Prayer for the Lonely (Vision Ent./Underground Sound)
|
1,002
|
1,079
|
16
|
-77
|
57
|
|
2
|
7
|
Randy Rogers Band Fuzzy (Mercury)
|
958
|
1,334
|
14
|
-376
|
56
|
|
6
|
8
|
Jason Boland & the Stragglers Dark & Dirty Mile (Vision Ent./Proud Souls Ent.)
|
943
|
1,136
|
14
|
-193
|
60
|
|
11
|
9
|
Josh Grider Summer & Sixteen (AMP)
|
941
|
900
|
9
|
+41
|
65
|
|
8
|
10
|
Uncle Lucius Keep The Wolves Away (Entertainment One Music)
|
932
|
1,019
|
19
|
-87
|
55
|
|
9
|
11
|
Reckless Kelly She Likes Money, He Likes Love (No Big Deal)
|
887
|
1,013
|
20
|
-126
|
63
|
|
23
|
12
|
Josh Ward Promises (Buckshot Records)
|
773
|
651
|
4
|
+122
|
53
|
|
25
|
13
|
Aaron Watson Summertime Girl (Thirty Tigers)
|
766
|
621
|
6
|
+145
|
55
|
|
16
|
14
|
Mario Flores I Didn’t Pick This Life (MF)
|
765
|
778
|
15
|
-13
|
54
|
|
19
|
15
|
Zane Williams Overnight Success (ZW)
|
765
|
734
|
8
|
+31
|
51
|
|
5
|
16
|
Casey Donahew Band Whiskey Baby (Almost Country)
|
764
|
1,168
|
14
|
-404
|
53
|
|
14
|
17
|
Ray Johnston Band Bye Bye City Lights (RJB)
|
742
|
818
|
11
|
-76
|
54
|
|
26
|
18
|
Curtis Grimes Home to Me (CG)
|
741
|
608
|
9
|
+133
|
49
|
|
20
|
19
|
Josh Abbott Band She Will Be Free (Pretty Damn Tough Records)
|
723
|
688
|
5
|
+35
|
57
|
|
15
|
20
|
Eleven Hundred Springs Anybody Going to San Antone (EHS)
|
698
|
817
|
13
|
-119
|
52
|
|
12
|
21
|
The Damn Quails Me and the Whiskey (598 Recordings)
|
677
|
878
|
20
|
-201
|
50
|
|
21
|
22
|
Brian Keane Easy to Say Goodbye (BK)
|
670
|
678
|
16
|
-8
|
49
|
|
17
|
23
|
Cody Johnson I Don’t Care About You (CJB)
|
619
|
758
|
20
|
-139
|
48
|
|
18
|
24
|
The Statesboro Revue Fade My Shade of Black (Vision Ent./Shalley Records)
|
556
|
744
|
20
|
-188
|
43
|
|
35
|
25
|
Sam Riggs When The Lights Go Out (SR)
|
550
|
411
|
6
|
+139
|
42
|
|
28
|
26
|
Rosehill Did You Ever Turn Around (Cypress Records)
|
539
|
552
|
10
|
-13
|
42
|
|
29
|
27
|
Phil Hamilton Back of a ’73 (Winding Road)
|
514
|
525
|
6
|
-11
|
47
|
|
24
|
28
|
Hudson Moore Doin’ Just Fine (Vision Ent.)
|
476
|
626
|
17
|
-150
|
40
|
|
32
|
29
|
Jamie Richards Never Gonna Hear It (JR)
|
464
|
456
|
10
|
+8
|
44
|
|
30
|
30
|
Chris Knight Nothing On Me (Drifter’s Church Prod.)
|
464
|
502
|
15
|
-38
|
33
|
|
41
|
31
|
Thieving Birds In the Summer (TB)
|
440
|
388
|
3
|
+52
|
46
|
|
37
|
32
|
Green River Ordinance It Ain’t Love (Good Time Entertainment)
|
435
|
404
|
4
|
+31
|
39
|
|
43
|
33
|
Chapter 11 w/Aubrey Lynn England Whiskey and You (C11)
|
427
|
377
|
4
|
+50
|
31
|
|
31
|
34
|
Kyle Bennett Hard to Let You Go (KB)
|
423
|
460
|
13
|
-37
|
42
|
|
40
|
35
|
The Rusty Brothers Little Sister (TRB)
|
410
|
397
|
8
|
+13
|
33
|
|
33
|
36
|
Mike Ryan 57 Songs (MR)
|
400
|
436
|
6
|
-36
|
38
|
|
45
|
37
|
Cody Jinks Glad to Say (CJ)
|
386
|
358
|
9
|
+28
|
35
|
|
27
|
38
|
Deryl Dodd Somethin’ Ain’t Always Better Than Nothin’ (Smith Ent.)
|
383
|
582
|
17
|
-199
|
36
|
|
34
|
39
|
Jeremy Steding Lyin’ (JS)
|
377
|
433
|
11
|
-56
|
39
|
|
48
|
40
|
No Justice Songs On The Radio (Carved Records)
|
354
|
341
|
2
|
+13
|
40
|
|
50
|
41
|
Aaron Einhouse The Worst I Can Do (AE)
|
335
|
287
|
2
|
+48
|
33
|
|
N
|
42
|
Bri Bagwell Hound Dog (BB)
|
332
|
202
|
1
|
+130
|
31
|
|
44
|
43
|
Mark Allan Atwood Loser (MAA)
|
318
|
362
|
4
|
-44
|
28
|
|
46
|
44
|
Jesse Raub Jr Blame It On the Music (JR)
|
310
|
356
|
7
|
-46
|
25
|
|
N
|
45
|
Callahan Divide Party on the River (CD)
|
310
|
268
|
1
|
+42
|
22
|
|
39
|
46
|
Cyrus James Lickety Split (CJ)
|
306
|
401
|
10
|
-95
|
31
|
|
N
|
47
|
Clayton Gardner Something About You (CG)
|
305
|
235
|
1
|
+70
|
35
|
|
N
|
48
|
Kylie Rae Harris Slide Over (KRH)
|
297
|
234
|
1
|
+63
|
25
|
|
36
|
49
|
Tejas Brothers Don’t Be So Mean (TB)
|
270
|
409
|
11
|
-139
|
33
|
|
N
|
50
|
Dolly Shine Spinning My Wheels (DS)
|
260
|
251
|
1
|
+9
|
17
|
Copyright © 2013, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX
Country music mega-star Alan Jackson has been threatening to cut a bluegrass album for the past few years, dropping hints in interviews and tantalizing the substantial crossover between country and bluegrass fans.
When he brought Alison Krauss in to produce his 2006 project, Like Red On A Rose, there was speculation that the CD might take a grassy turn. But despite including a fine version of Wait A Minute, famously tagged by Seldom Scene, both that track and the whole album were firmly in the contemporary country camp.
This year, however, it finally came to pass. Jackson assembled an all-star cast of bluegrass pickers and singers in April, and tracked a new all-acoustic record at The Castle outside of Nashville. In the studio were Sammy Shelor on banjo, Adam Steffey on mandolin, Tim Crouch on fiddle, Tim Dishman on bass, Rob Ickes on reso-guitar, and Scott Coney on guitar. Ronnie Bowman and Don Rigsby were on hand to provide harmony vocals, with Keith Stegall and Adam Wright producing.
Titled simply, The Bluegrass Album, it will be released September 24 on Jackson’s ACR label, distributed by EMI Records Nashville. Eight of the tracks are Jackson originals, along with covers of The Dillards’ There Is A Time, John Anderson’s Wild And Blue, and a slow, 3/4 time version of Blue Moon Of Kentucky.
We caught up yesterday with Sammy Shelor, who said that they tracked all the rhythms and most of the vocals in five sessions over two days. The band sat in a circle with half dividers between them so that everyone could see each other, with Alan and the backup singers tracking live with the band.
“The most we did on any song was three takes; we got most of them the first time. We worked from charts, but Alan knew what he wanted on every song before we started.”
Bluegrass fans may not recognize the name of session guitarist Scott Coney, who also plays guitar, fiddle and banjo in Jackson’s country band. Sammy says that he is also a super bluegrass guitarist, both lead and rhythm.
Studio band, producers and engineers with Alan Jackson in the studio for The Bluegrass Album sessions“Coney is the biggest Rice nut in the world.
He has hours of live Rice recordings, a lot of them with me playing on the show. That’s how he found out about me.
Alan told Scott to put a band together for this record, but that he didn’t want it to ‘sound like all the other bluegrass albums country artists cut in this town.’
“There’s a good variety of styles and tempos among the songs. Shelor said that there are some slower ballads, but also a number of “punchy, drivey, mid-tempo pieces,” and a couple of fast ones.
Sammy expects this record to be warmly embraced by bluegrass fans.
“Alan’s voice lends itself perfectly to bluegrass, in my opinion. If you like Ronnie Bowman or Marty Raybon singing bluegrass, you’ll love Alan Jackson doing it.
I’m extremely blessed and happy to be a part of this project. It’s a great bluegrass record, and its Alan Jackson singing. What more could you ask?”
Current plans suggest that Jackson will do some television and selected live shows to promote The Bluegrass Album around the release date, with a likelihood of further touring to follow. They hope to hit a number of major bluegrass festivals next year as well, using the same musicians who appear on the album.
We’ll report back as further details are announced.
John Lawless | July 12, 2013
ABOUT WSM:
650 AM WSM is the most famed country music station in the world. Each day, the station shares country, bluegrass, and Americana as well as the excitement of Music City with friends in Middle Tennessee and listeners around the world.
WSM debuted on Oct. 5, 1925, and less than two months later, the show would birth its most famous show (and the show that would make country music famous), the Grand Ole Opry. The Opry was the first of WSM’s shows to develop such an excited audience that fans would visit live studio broadcasts. That tradition continues today not only with the Opry, but with other signature programming including “An Intimate Evening with Eddie Stubbs”, “Station Inn Sessions”, and more. In 1928, WSM was given the frequency of 650 kilohertz and admission to an elite group of maximum power, Class 1-A clear-channel broadcasters. In 1932, the station’s new 50,000-watt transmitter made it a nation-spanning giant. At the heart of this expansion was a diamond-shaped vertical antenna located just South of Nashville, the tallest tower in the nation at the time. The station today still spans the nation with its AM signal, of course, while also circling the globe online.
WSM has gone on to become a broadcasting giant and a friend to hundreds of thousands of fans. The station has won hundreds of broadcasting awards and was named Country Radio Station of the Century by “Radio & Records” in 2000. WSM’s personalities are nationally recognized figures in country music, and its listeners range from U.S. Presidents to Country Music Hall of Famers, to artists climbing the charts toward their first number one hit. You never know when a famous listener might drop in for a visit or to take the studio’s reigns for a while.
Album |
LW |
TW |
Artist Title (Label) |
TW SPINS |
LW SPINS |
Weeks on Chart |
Spin +/- |
Stations |
3 |
1 |
William Clark Green She Likes The Beatles (Bill Grease Records) |
1,387 |
1,280 |
11 |
+107 |
71 |
|
1 |
2 |
Randy Rogers Band Fuzzy (Mercury) |
1,334 |
1,451 |
13 |
-117 |
73 |
|
4 |
3 |
Granger Smith Silverado Bench Seat (GS) |
1,292 |
1,197 |
11 |
+95 |
69 |
|
6 |
4 |
Roger Creager For You I Do (Roger Creager Music) |
1,225 |
1,082 |
11 |
+143 |
69 |
|
2 |
5 |
Casey Donahew Band Whiskey Baby (Almost Country) |
1,168 |
1,331 |
13 |
-163 |
69 |
|
5 |
6 |
Jason Boland & the Stragglers Dark & Dirty Mile (Vision Ent./Proud Souls Ent.) |
1,136 |
1,195 |
13 |
-59 |
64 |
|
7 |
7 |
The Departed Prayer for the Lonely (Vision Ent./Underground Sound) |
1,079 |
1,071 |
15 |
+8 |
63 |
|
9 |
8 |
Uncle Lucius Keep The Wolves Away (Entertainment One Music) |
1,019 |
1,038 |
18 |
-19 |
56 |
|
10 |
9 |
Reckless Kelly She Likes Money, He Likes Love (No Big Deal) |
1,013 |
959 |
19 |
+54 |
68 |
|
8 |
10 |
JB and the Moonshine Band The Only Drug (Average Joe’s) |
1,005 |
1,063 |
11 |
-58 |
66 |
|
13 |
11 |
Josh Grider Summer & Sixteen (AMP) |
900 |
811 |
8 |
+89 |
62 |
|
11 |
12 |
The Damn Quails Me and the Whiskey (598 Recordings) |
878 |
827 |
19 |
+51 |
58 |
|
16 |
13 |
Turnpike Troubadours Before The Devil Knows We’re Dead (Bossier City) |
868 |
773 |
5 |
+95 |
57 |
|
12 |
14 |
Ray Johnston Band Bye Bye City Lights (RJB) |
818 |
823 |
10 |
-5 |
54 |
|
14 |
15 |
Eleven Hundred Springs Anybody Going to San Antone (EHS) |
817 |
809 |
12 |
+8 |
55 |
|
17 |
16 |
Mario Flores I Didn’t Pick This Life (MF) |
778 |
750 |
14 |
+28 |
51 |
|
15 |
17 |
Cody Johnson I Don’t Care About You (CJB) |
758 |
798 |
19 |
-40 |
53 |
|
18 |
18 |
The Statesboro Revue Fade My Shade of Black (Vision Ent./Shalley Records) |
744 |
729 |
19 |
+15 |
47 |
|
22 |
19 |
Zane Williams Overnight Success (ZW) |
734 |
641 |
7 |
+93 |
45 |
|
25 |
20 |
Josh Abbott Band She Will Be Free (Pretty Damn Tough Records) |
688 |
571 |
4 |
+117 |
56 |
|
20 |
21 |
Brian Keane Easy to Say Goodbye (BK) |
678 |
686 |
15 |
-8 |
53 |
|
21 |
22 |
Chris Brazeal Band Middle American Blues (CBB) |
653 |
662 |
13 |
-9 |
48 |
|
29 |
23 |
Josh Ward Promises (Buckshot Records) |
651 |
519 |
3 |
+132 |
49 |
|
23 |
24 |
Hudson Moore Doin’ Just Fine (Vision Ent.) |
626 |
629 |
16 |
-3 |
48 |
|
26 |
25 |
Aaron Watson Summertime Girl (Thirty Tigers) |
621 |
569 |
5 |
+52 |
49 |
|
24 |
26 |
Curtis Grimes Home to Me (CG) |
608 |
577 |
8 |
+31 |
48 |
|
19 |
27 |
Deryl Dodd Somethin’ Ain’t Always Better Than Nothin’ (Smith Ent.) |
582 |
710 |
16 |
-128 |
45 |
|
28 |
28 |
Rosehill Did You Ever Turn Around (Cypress Records) |
552 |
527 |
9 |
+25 |
42 |
|
33 |
29 |
Phil Hamilton Back of a ’73 (Winding Road) |
525 |
464 |
5 |
+61 |
39 |
|
30 |
30 |
Chris Knight Nothing On Me (Drifter’s Church Prod.) |
502 |
498 |
14 |
+4 |
38 |
|
32 |
31 |
Kyle Bennett Hard to Let You Go (KB) |
460 |
469 |
12 |
-9 |
38 |
|
36 |
32 |
Jamie Richards Never Gonna Hear It (JR) |
456 |
431 |
9 |
+25 |
46 |
|
34 |
33 |
Mike Ryan 57 Songs (MR) |
436 |
453 |
5 |
-17 |
32 |
|
31 |
34 |
Jeremy Steding Lyin’ (JS) |
433 |
477 |
10 |
-44 |
39 |
|
45 |
35 |
Sam Riggs When The Lights Go Out (SR) |
411 |
350 |
5 |
+61 |
34 |
|
38 |
36 |
Tejas Brothers Don’t Be So Mean (TB) |
409 |
407 |
10 |
+2 |
38 |
|
44 |
37 |
Green River Ordinance It Ain’t Love (Good Time Entertainment) |
404 |
365 |
3 |
+39 |
37 |
|
27 |
38 |
Jason Cassidy Blame It On Waylon (A-Blake) |
404 |
564 |
21 |
-160 |
36 |
|
40 |
39 |
Cyrus James Lickety Split (CJ) |
401 |
398 |
9 |
+3 |
36 |
|
41 |
40 |
The Rusty Brothers Little Sister (TRB) |
397 |
396 |
7 |
+1 |
31 |
|
48 |
41 |
Thieving Birds In the Summer (TB) |
388 |
341 |
2 |
+47 |
36 |
|
\ |
43 |
42 |
Steve Helms Band Hard Earned Money (SHB) |
378 |
375 |
9 |
+3 |
24 |
37 |
43 |
Chapter 11 w/Aubrey Lynn England Whiskey and You (C11) |
377 |
430 |
3 |
-53 |
28 |
|
42 |
44 |
Mark Allan Atwood Loser (MAA) |
362 |
382 |
3 |
-20 |
29 |
|
49 |
45 |
Cody Jinks Glad to Say (CJ) |
358 |
323 |
8 |
+35 |
34 |
|
46 |
46 |
Jesse Raub Jr Blame It On the Music (JR) |
356 |
350 |
6 |
+6 |
26 |
|
47 |
47 |
Gary Kyle Texas Strong (Pearl Snap Records) |
352 |
346 |
2 |
+6 |
24 |
|
N |
48 |
No Justice Songs On The Radio (Carved Records) |
341 |
307 |
1 |
+34 |
39 |
|
39 |
49 |
Anson Carter All About the Music (AC) |
289 |
403 |
18 |
-114 |
30 |
|
N |
50 |
Aaron Einhouse The Worst I Can Do (AE) |
287 |
285 |
1 |
+2 |
24 |
Copyright © 2013, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX
Vernon Dalhart ( Marion Try Slaughter ) lived April 6, 1883 to September 14, 1948.
Vernon Dalhart was a popular American singer and songwriter of the early decades of the 20th century. He is a major influence in the field of country music.
Dalhart was born in Jefferson, Texas. He took his stage name from two towns, Vernon and Dalhart in Texas, between which he punched cattle in the 1890s.
From 1916 until 1923, using numerous pseudonyms, he made over 400 recordings of light classical music and early dance band vocals for various record labels.
Research by Billboard statistician Joel Whitburn determined “The Prisoner’s Song” to have been a No. 1 hit for 12 weeks in 1925-26. In 1998, “The Prisoner’s Song” was honored with a Grammy Hall of Fame Award and the Recording Industry Association of America named it one of the Songs of the Century. It was the
desire of the Victor Talking Machine Company to duplicate the sales success of ‘Wreck/Prisoner’ that led them to contract with Ralph S. Peer to go to the southern mountains in the Summer of 1927 to facilitate ‘The Bristol Sessions’, arguably the single-most important recording event in the history of country music, where Jimmie Rodgers and the original Carter Family were first discovered, and after which, Peer’s royalty model would become the standard of the entire recorded music industry.
Read more: http://en.wikipedia.org/wiki/Vernon_Dalhart
Great country music doesn’t only come out of Nashville. If you stop and look around, you just might find some of the best country music within an hour drive from home. Here in Northeast Tennessee, we didn’t have to go very far to find James Meadows. He recently released his second album, “Keepin’ It Real.” I first met James at the Washington County Fair, but never had the opportunity to see him perform until I caught one of his shows in Bristol, a few months ago.
The Abingdon, Va., resident is an ASCAP affiliated singer/songwriter and Nashville recording artist. While James was in college, he was involved with the ETSU Bluegrass, Old Time, and Country Music program. He played in many bands, featuring top notch talent from all over the world. He also played in many different band combinations, performing both bluegrass and country.
This very talented local artist brings great country music to Northeast Tennessee and Southwest Virginia with live shows just about every weekend. While his shows are often acoustic performances, he also works with his full band, The Country Mile Drifters. James is a fun performer. He has a lot of energy, and knows how to work with his audience, making it impossible for anyone not to have a good time.
His new CD, “Keepin’ It Real” is now available at amazon.com. The 11 songs on the new album paint a very good picture of who James is, and exactly what he does. Joining other very talented songwriters, James wrote or co-wrote several of the songs on the CD. In addition to the original music, listeners will also hear his version of the Randy Travis classic, “Forever and Ever Amen.”
His live shows offer a variety of music from many different genres. When you see James on on stage, you can expect to hear Classic Country, New Top 40 Country, a little Southern Rock and Bluegrass, and some of his original music as well. Oh his album, “Keepin’ It Real,” however, James does just that. He keeps his songs ‘real’ country. His voice is very versatile, and he uses his talent to create a unique sound on every song he sings. Many times when listening to a new song on the radio, you might find yourself trying to figure out exactly who the artist sounds like. There isn’t any comparison with James. James Meadows sounds like James Meadows. He is who he is, and there is no attempt at wanting to sound like anyone else. He doesn’t need to. After you hear him sing for the first time, you will remember where that voice is coming from when the next James Meadows song is played.
The songs you’ll get on this album are Like A Radio, Somebody Up There Likes Me, I Get to, Forever and Ever Amen, All I Ever Wanted, Knock Knock, They Walk On Your Heart, Keepin’ It Real, Feelin’ Good, Sad Songs Make Me Smile, and People Need People.
There is something for everyone on this CD. “All I Ever Wanted” is for the romantics; “They Walk on Your Heart” will touch every parent; “I Get To” will make each of us think about what is really important in our life; “People Need People” pretty much tells us what we already know, about getting through every day with someone close by to help us; and “Somebody Up There Likes Me” wins the prize for the ‘catchy melody, sing-along with this one’ song out of the 11 on the new CD.
The first single release from the new album, “Like A Radio,” made the Music Row Charts and charted in the Top 80 in February, with the help of the promotional team from ATP Records in Nashville. James is currently gearing up to release another single from this album and he is songwriting again in preparation for another album that will be in the works over the next few months.
James has shows scheduled for Davinci’s in Abingdon, Va.; Louie’s in Glade Spring, Va.; The Country Club and State Line Bar and Grill, both located in Bristol; and Sportsman Marina in Abingdon. You can find out more about James, check all of his show dates, and listen to his music at jamesmeadows.net.
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Music Charts Magazine CD Reviews ( Country )