garth against the machine - country aircheck · garth against the machine the familiar circle-g...

September 8, 2014, Issue 413

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Garth Against The Machine The familiar circle-G logo was overtaken by a skull and crossbones and ominous industrial sounds before Garth Brooks opened his world tour outside Chicago Thursday (9/4) with the new song “Man Against Machine.” After raging against and seeming to beat back the Borg in the uncharacteristically theatrical opener, Brooks and his 10-piece band carried on in more familiar fashion. But the theme was quite clear. After all, his very presence onstage is notable because he stepped out of the machine to devote his time to Garth Brooks

Awards: What Are They Good For? After reading Bobby Bones’ comments (CAT 9/4) about the CMA Broadcast Awards finalists, I felt compelled to respond, but not in the way you might think. What concerns me most – perhaps even more than his comment about “going to need a lot of old people in this industry to retire or die before the Nashville ‘guard’ lets something new get recognized” – which I just might take a bit personally ;) – are his assertions that the process is “obviously political” and an “antiquated system.” He also opines that he is at a disadvantage because “I simply don’t play the political games the format is known for.” To suggest that any of the above plays a role in the process is a huge disservice to CMA staffers and Radio Committee members who through the years have taken great pains to ensure the integrity of the entire process. It is also an affront to anyone who has ever won or been a finalist for a CMA (or ACM) broadcast award. The implication is the award was bestowed for reasons other than for being an excellent broadcaster. Regardless, it struck me that there might be a lot of people new to this format who might also be confused or uninformed about the process, and perhaps an explanation was warranted. So, I offer this response as a long-time member of the CMA Board of Directors and the Radio Committee, which has oversight of the Broadcast Awards process. (In full disclosure, I am also one of three National Personality finalists – along with the Big D & Bubba show and zMax Racing Country – in the category in which Bobby entered.)

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Beaches Of Chi-Town: Pearl/RCA’s Garth Brooks (l) and RCA’s Trisha Yearwood (r) with KBEQ/Kansas City’s Mike Kennedy and wife Nycki in Chicago for Brooks’ world tour.

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P A G E T H R E E P I C

Blame It All On My Roots: Garth Brooks (l) with RCA’s Dan Nelson and his mullet. Have your own hair-raising flashback to share? Send it to [email protected].

As the “orb” that encircled the drum riser began to spin on a horizontal axis (the kit was stationary), rotate laterally and rise into the air, the singer climbed one of the contraption’s pillars to stand roughly 10 feet above the stage with nothing to hold onto but the spinning sphere. Brooks climbed down safely ... and slowly ... ending the night’s only precarious wobble. Otherwise, the passion- and sweat-drenched connection between Garth and his fans continued at such a pitch that it almost begs the question – is he a man ... or a machine? “To the woman with the sign that says ‘We missed you,’” he yelled near the end, “we missed you! And to the guy with the Fresh Horses t-shirt, I have seen you every day we have been gone! And to the young people who knew every word to every song .... thank you so so much!” –Chuck Aly

The Intern Conundrum For many in the radio and label ranks who credit unpaid internships with launching their careers, the idea of being anything but grateful for the opportunity to get a foot in the door rankles. But it’s a litigious new world out there, so Country Aircheck asked a few folks on the front lines about the evolving landscape.

parenting. He also apologized during Thursday’s press conference for continuing to refer to himself in the third person – a device he employs to acknowledge that “Garth Brooks” is much more than just one person. Topics also included his plans to play YouTube “whack-a-mole” to keep cellphone videos of shows from popping up online. He celebrated Country radio because on social media “it gets twisted ... you guys do it accurate – the guy right there [in his own] voice saying what’s going on.” Brooks also took on ticket brokers (“that’s a kind word”) and discussed the steps he’s taken to keep them out of the process. “I haven’t seen a robot with a credit card yet,” he said. And later, “It’s kind of a man against the machine kind of feel.” Of course, the most momentous announcement was GhostTunes.com, which he founded to avoid selling his music through iTunes, Amazon and other digital retailers. “We don’t want corporations wagging the tail of the dog,” he explained. Clearly, Brooks was trying to tell us something. Mostly, though, he wanted to entertain. Following the openers, “Rodeo” and “Papa Loved Mama,” Brooks admitted, “I’m 107 years old. I can’t sing like this for 11 nights straight so you’re going to have to help me.” The crowd carried much of “The Beaches Of Cheyenne” and “The River.” “I gotta get some more of that,” Brooks said, kicking off a solo-acoustic version of “Unanswered Prayers” that the audience sang throughout. Perhaps the defining aspect of the show and Brooks as a performer is his barely controlled (or is it?) fervor – a near mania that fuels his interaction with fans with an almost drug-like high. “You really think you can keep this up all night long?” he roared, getting the same enthusiasm back as the band jumped into “Ain’t Going Down (‘Til The Sun Comes Up).” Afterward, already drenched with sweat, Brooks asked, “You had enough?” Then he bent over, put his hands on his knees and wheezed into the microphone. “You sure you haven’t had enough?” A few songs later, Brooks was joined by wife Trisha Yearwood for “In Another’s Eyes,” opening her portion of the set. “I think Garth’s gone to put on a gown or something,” Yearwood joked after he left the stage. By comparison, her five-song interlude was understated, but no less well-received. Introducing “She’s In Love With The Boy,” she recalled performing the song for the first time while opening for Brooks. “I was scared of the crowd, scared of the stage and scared of Garth Brooks ... and tonight, I’m still scared of all those things, but it’s a lot of fun,” she deadpanned. Garth returned to sing harmony on Yearwood’s single “Prizefighter,” then retook the reigns for “More Than A Memory,” “Callin’ Baton Rouge,” “Friends In Low Places” and “The Dance.” Brooks’ almost unyielding drive to give all he has to the audience led to one scary moment during the encore.

September 8, 2014

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“We looked at all the states where we operate and worked with employment attorneys to set standards,” says Emmis VP/Human Resources Traci Thomson. “Basically, the most we have to do in any state is what we do in every state. That’s usually California, but New York is a close second.” Thomson says Emmis has five specific guidelines for unpaid interns. •Theymustbeenrolledinanaccreditedcollege’sacademicprogram. “So no 30-year-olds who graduated four years ago.” •Theymustspend20%oftheirtimedoingin-jobshadowing. •Theycanwork20hoursperweekorless,unlessthecollegerequires more. •Theyhavetosubmitanagreementupfrontthatdetailstheseguidelines signed by someone from their academic program. •Finally,attheendoftheinternship,theysubmitafinalwrittenreport about their experience and what they learned. “A lot of times the college requires this, so we’re basically asking for a copy.” The reports also help the company oversee how interns are used. “That way we can monitor what’s happening, finding locations where the program may not be up to par and say, ‘You need to hire someone for this, not use interns.’ What you don’t want to do is find out that one of your markets has 30 unpaid interns. No one can manage that many and have it be a good experience.” Big Machine Label Group switched to a paid internship program two years ago with an eye on making an important companytoolevenmoreeffective.“Morethan25%ofouremployees have been hired from our internship program,” says COO Andrew Kautz. The goal was “improving it to continue identifying talent and cultivate potential employees.” Paying interns enriches access to talented prospects. “It allows us draw from a much larger pool of applicants,” Kautz says. “[We can] compete with Starbucks and restaurants for our interns’ time and it allows them to potentially not have to take that second job to afford to intern with us.” Promising graduates can also be tapped for a paid internship, which previously wasn’t possible. BMLG employs a staffing company to manage the nationwide applicationprocess.Roughly250-300applicantsareculledto12-15internshipspersemester.“Thisallowsusthechancetoreallyseewhat an intern is capable of doing and to better understand where and if they potentially fit within our organization,” Kautz says. For others, the prospect of legal action is just too great. “There are a lot of companies out there abusing it,” says one HR exec at a top company who asked not to be identified. “The reality is, if they are asking an intern to bring them coffee, they might be breaking the rules.” Like many others, this unnamed entertainment giant recently eliminated unpaid internships. “I know we were providing value

OFF THE RECORD: JOEl CROusE

and giving great opportunities,” our source says. “We were diligent in requiring college credit and jumping through all the hoops, but the risk gets a little crazy. At some point, anybody can sue you for anything and the right answer is to have paid interns.”

September 8, 2014

Show Dog-Universal’s Joel Crouse puts an industry spin on the artist interview: I grew up listening to WKLB/Boston and WRNX/Springfield. Shaggy the DJ is still there. It’s so crazy going to see him. When I first met him I was like, “Dude, you’re a legend to me.” The first time I heard myself on the radio I was on my way to a gig in Virgin-ia Beach and it was on WGH. It was the

craziest experience to hear it coming through regular radio and not a CD player. And then the first time I got in the car and it was playing randomly, I was in Seattle and KMPS was playing it. I don’t even jam out to it. I just take it all in because it’s such a surreal experience. My first radio visit ever was with Phathead, the program director at WJVC/Nassau. My radio rep said, “I know this is your first radio tour and this really isn’t normal, but would you mind playing for someone in the delivery room?” My father was a pastor and I grew up playing funerals and weddings, so I guess the next step was births. I played about three or four songs for Phathead’s wife Dana in the delivery room. She went into labor quickly afterwards. To this day, they’re like family to me. I’ve never made a SkyMall purchase. However, I’ve been looking at one of those Lord Of The Rings rings – or those giant outside TVs. My go-to truck stop items are usually SmartWater, trail mix, Purell and a blue raspberry Slurpee. But one time I bought a giant bear. I named him Ralphie Crouse and gave him an Ins-tagram page. He’s kind of this alcoholic bear. He’s pretty funny. When I’m on the road, I always need shades and my good headphones just to get in the right mindset. If I don’t have those, I’m usually stopping to pick some up. I don’t like it when people ask about my personal life. Someone once asked me about a breakup and I responded, “I know, the John Mayer and Katy Perry thing was really unfortunate.” I’m here to talk about music, not about what I do outside of music.

Joel Crouse

http://instagram.com/ralphiecrouse

http://instagram.com/ralphiecrouse


If nothing else, compensating interns may be worth the money in reduced stress. “We were always told that internships had to be inconvenient to us as the employer and a benefit to the student,” the anonymous exec says. “This is so much better because it takes a lot of burden off of supervisors.” Whatever strategies companies take these days, it pays to have a plan for interns – paid or unpaid. –Chuck Aly

Put You In A Song When Capitol’s Keith Urban went to New Orleans for American Idolauditionsrecently(8/26),healsoplayedaprivateshowatThe House of Blues Parish Room for a select few fan club members and listeners of Clear Channel’s WNOE.Only350fanssawtheshow, most winning tickets from the station. “What an amazing night for New Orleans,” says former PD Don Gosselin (CAT8/21), who has spent the last several years growing country music’s presence in the city. “New Orleans has never been thought of as a traditional country town,” he says. “However, we knew that more than anything, New Orleans is a music town and will support great music of all genres.” Gosselin says when he arrived in town three years ago (CAT 5/10/11), there weren’t many country shows coming in. In fact, he had to go to Biloxi that year to see Urban on his Get Closer Tour, and while he was there, he told Urban about his mission to reinvigorate the country music scene there. “He said the last time he played there was at Jazz Fest right after Hurricane Katrina,” says Gosselin. “He and [wife Nicole Kidman] fell in love with the city and he has been back several times just to hang out because he loved the vibe so much.” They’ve been talking about a show ever since. Gosselin says it was actually Urban’s idea to do the private concert for WNOE listeners when he knew he was coming in for Idol. Making it happen was a team effort. “It really was the brainchild of many discussions between Borman Entertainment and the label,” says Capitol SVP/Promotion Steve Hodges. “WNOE was on board from day one and did a great job of helping lay out the blueprints for the overall promotion and that night.” The Times-Picayune covered the

backstory (here) and later, rave reviews (here). More shows are on the way for downtown New Orleans. Recent concerts in Champions Square included Justin Moore and Jake Owen, with not-yet-announced shows from Darius Rucker, David Nail, Hunter Hayes, Frankie Ballard, Eric Church and more on tap. Reach Gosselin here. –Jess Wright

News & Notes The CMA Foundationhasdonated$125,000tobenefitmusic education programs in New York City public schools through a partnership with Education Through Music. Rome Radio’s WSRM/Rome, GA is a new affiliate of Envision’s Looking Up Country. KYUN/Twin Falls, ID is a new affiliate of Envision’s The Live Ride with Marty McFly. Jingle Punks has launched Pop Up Music in Nashville headed by VP/Artist Management & Development Pete Olson and VP/Publishing & Artist Development Liz O’Sullivan. Buddy Lee Attractions has added Outshyne and Brooke Hogan to its roster. Star Farm Nashville will handle promotion for Big Spark Music’s Olivia Lane. Nashville Cares, ASCAP and SESAC will hold a songwriters nightSept.16atNashville’sListeningRoomCafe.ProceedsbenefittheNashvilleAIDSWalkand5KRun.Morehere. Big Machine Music and Warner/Chappell Nashville have extended their exclusive co-publishing agreement with songwriter Laura Veltz (“Drunk Last Night,” “Lonely Eyes”). SOLID donatedarecord$40,208toNashvillecharitiesin2014andisnowacceptingapplicationsformembershipfor2015here.

Artist News Cold River’s Katie Armiger launches her U.S. Girls With GuitarsEuropeanheadliningtourNov.16inGlasgow,featuringspecial guest Holly May. See the full list of dates here. Eric Church will play a benefit concert in support of The Grammy Foundation in Madison, WI Oct. 8. An Evening with EricChurchticketswillgoonsaleSept.12for$67andalimitednumber of VIP tickets will be available for $87. RCA’s Miranda Lambert has opened a bed and breakfast in Tishomingo, OK. See photos of The Ladysmith here. Capitol’s Lady Antebellum joined with Divatex to create a line of bed and bath linens called Lady Antebellum’s Heartland Home Collection. Jake Owen, The Swon Brothers, Tony Joe White and Billy Burnette have been added as performers for the

Urban and Gosselin

September 8, 2014

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8th Annual ACM Honors, held Sept. 9 at Nashville’s Ryman Auditorium. As previously announced, Owen will also host. Streamsound’s Austin Webb will host a StageIt show to benefitAutismSpeaksWednesday(9/10)at6pmCT.Morehere.

September 8, 2014

Big Machine Southwest Regional Alex Valentine discusses a restaurant he goes out of his way to visit. The Place: Louie’s in Dallas, TX The Appeal: “Hands down the best food in a ‘bar’ atmosphere – be it their ample Greek salad; meatball appetizers or to-die-for Clams Casino or their signature best pizza ever, don’t care what Chris Loss says about Grimaldi’s. I spent over a

decade on the radio in Dallas and met Louie (the late proprietor) and his brother Chris (the chef). They quickly became close family friends. It’s no coincidence they’re Greek guys from just outside of Chicago. I’m a Macedonian (Greek hillbilly) from just outside of Chicago and their food is very Mediterranean, just like the greatest cook I’ve ever known, my mom. Don’t believe me? Ask Rascal Flatts, Josh Thompson or any other artists and local radio peeps I’ve walked in with for our Dallas ‘music meetings.’ It was one of those ‘best kept secrets’ but ever since it was featured on Diners, Drive-Ins and Dives, the business has grown exponentially. The Canelakes family will tell you that if anyone needs me when I go to Dallas, they will find me at Louie’s!” Counterpoint: KTFW(HankFM)/Dallas PD/afternoon personality Mike Crow’s local favorite is Coopers BBQ in Ft. Worth. “The Fort Worth location is right down Main Street from HankFM in The Fort Worth Stockyards. It’s the best representation of a Texas BBQ restaurant straight out of the Old West. The huge smoke pit is the first thing you see when you go inside. You pick your meat selection straight off the pit. The pork

chops are about three inches thick. A rack of ribs is smoked to perfection and the juicy smoked prime rib is the best anywhere. I’ve actually seen tourists taking pictures of their meal. This sounds crazy but one of the best side items is Jalapeno Mac & Cheese! Since it’s across the street from Billy Bob’s Texas, you never know who will be sitting next to you. The last time I was in there I had lunch with members of Charley Pride’s band!”

Reach Valentine here and Crow here. Have a must-visit restaurant and a fun story to go with it? Tell us here.

FARE CHECk: BEsT EATs

AlexValentine

Mike Crow

(continued from page 1)Awards: What Are They Good For?

First and foremost, all entries are judged by distinguished radio professionals. There are no label people voting for their favorite PDs or MDs. This is not a popularity vote – especially not one by a bunch of old Nashville farts sitting around Losers pounding down a few Bud Lights. In fact, according to CMA, only three judges even live in Nashville. The vast majority of judges have top programming posts at the SVP or VP level within their respective companies, or work in major markets and/or have group responsibilities within their respective companies. All companies are represented – including 10 judges from Bones’ parent Clear Channel. (As explained later, they didn’t judge him or any other CC personality or station.) Some are presently engaged in Country radio; many are not. According to theCMA,19ofthe58judgesarenotemployedbyacompanythat owns any radio stations. These are consultants, talent coaches and other industry execs with no ties to a station or group. Many

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September 8, 2014

have no direct ties to Country. I’d offer some names, but a large part of this depends on the anonymity of the judges. Prior to judging, the stations and personalities assigned to each judge are thoroughly vetted by CMA staffers and members of the radio committee to avoid conflicts of interest. Every possible effort is made to ensure that no entry is judged by anyone in the same or sister company as the entrant. Any possible conflicts are sought out. (One judge was removed from judging a personality because 10 years before, the judge had fired that particular jock. Consultants have kicked back entries assigned to them because they were either current or past clients that CMA was unaware of.) Each Personality submission includes detailed Bio (10 points), Ratings(25points),andCommunityInvolvement(25points)information as well as an Aircheck (40 points). The National PersonalityentryincludesanAircheck(45points),Leadership/Accolades(35points)andBioinformation(20points).StationoftheYearentriesarejudgedontheAircheck(35points),CommunityParticipation(20points)Ratings(35points)andLeadership (10 points.) Eachfirst-roundentryisevaluatedbythreejudges.TheTop5point-getters move on to the finals. (Given the limited number of entries in the National category, only three move on to the finals.) In the second round, every finalist is evaluated by nine judges. Those scores are combined with the first round scores to determine the winner. By the way, in the first round, due to the sheer number of entries, judges get submissions from different categories. In the second round, each of the nine judges are assigned one category. Thus, a judge will get all five finalists in the Major Market Station group or the Small Market Personality category. That way the finalists are being judged by the same people against all the others in that particular category, making it easier for the judges to rank the entries in the order they think they fall.

As I hope I’ve outlined, this process is anything but political. There are no “games” that need to be played. It is anything but antiquated. In fact, it has been built and honed through the years to eliminate as much of that crap as possible so the CMA award means something to the winners. There is no value without integrity. I might add that this process is almost identical to the one used by the ACM (more disclosure: I have been part of the ACM Radio Task Force which oversees its Broadcast Awards for the last few years), which named The Bobby Bones Show as co-winner of the National award last April. I hope the great pains taken to make the Broadcast Awards meaningful by both organizations make them far more than “dust collectors.” If one views them as such, I suggest they don’t submit entries to the CMA or the ACM, and allow those magnificent trophies to sit in display cases of those who cherish them. On a more personal note to anyone who might be new to this format, Country has long been built on a foundation of respect for those who came before. On both sides of the mic. Ask Brad Paisley about Buck Owens. Or Miranda Lambert about Merle Haggard. Or Garth about Haggard, Jones and Strait. Or almost any artist in this format about their musical heroes. Ask any radio personality about Ralph Emery, Bill Mack or Gerry House or any of the others in the Country Radio Hall of Fame. The vast majority of us started in Pop radio. Thirty years from now I hope today’s young broadcasters are treated with more respect than some of them are giving to those who made what they do possible. Nothing is perfect, of course. Suggestions for improving the process can go to the CMA’s Brandi Simms at [email protected], CMA Radio Chair Mike Moore at [email protected] or the ACM’s Brooke Primero at [email protected]. –Lon Helton

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Countryradiosharesweredown5.9%inAugust(7/17-8/13)comparedtoJuly.Ofthe85subscribingstationswhichposteda1.0 share or higher, 31 increased, 47 decreased and seven were flat compared to last month.

August 2014 PPM Scoreboard The cume leader remains CBS Radio’s WUSN/Chicago with 1,319,100. Cumulus’ KPLX/Dallaswassecondwith1,248,700. Legend: A “+” indicates a Classic Country outlet; a “^” designates co-owned Country stations in the metro; “t” indicates a tie; and a “*” indicates a station best in that statistic. Ranks are among subscribers.

WKHX/Atlanta 3.6 12t 3.6 14 704,200 734,000

WUBL/Atlanta 6.3 4t 6.5 2 813,400 841,600

KASE/Austin^ 7.5 2 6.9 2 383,300 368,400

KVET/Austin^ 6.0 3 5.5 4 86,400 342,000

KOKE/Austin 1.9 18t 2.3 16t 86,400 88,900

WPOC/Baltimore 8.4 1 7.2 3 512,100 490,700

WKLB/Boston 6.0 4 6.3 3 873,400 912,400

WBWL/Boston 2.6 16 2.6 18 402,800 464,000 (flipped to Country June 13)

WCTK/Providence (Boston) 1.7 20 1.5 21 235,900 239,800WKKT/Charlotte 8.1 1 7.0 3 525,700 544,400WSOC/Charlotte 7.7 3 6.3 5 497,200 516,700WUSN/Chicago 4.5 4t 4.3 6 1,356,200 1,319,100WNNF/Cincinnati 2.4 14t 2.9 12 290,200 301,400WUBE/Cincinnati^ 10.7 2 10.2 2 535,900 536,300WYGY/Cincinnati^ 2.3 16 1.9 16 222,600 204,400WGAR/Cleveland 6.8 4 7.0 4 479,700 467,700WCOL/Columbus, OH 11.3 1 12.4 1 481,000 466,500WHOK/Columbus, OH 1.5 13t 1.2 14 100,700 98,400KPLX/Dallas^ 5.6 2 5.7 2 1,256,400 1,248,700KSCS/Dallas^ 4.3 3t 4.0 6 921,200 926,300KWOF/Denver 2.4 19 1.9 20 309,300 287,800KYGO/Denver 6.2 1 5.6 3 564,400 545,900WDRQ/Detroit 2.5 17 2.5 17 509,100 540,400WYCD/Detroit 6.0 4 5.6 4 924,700 886,000WPAW/Greensboro 8.2 4 9.3 2 297,800 326,800WTQR/Greensboro 8.3 3 7.7 4t 373,800 353,700WWYZ/Hartford 7.5 3 7.5 3 257,600 235,900KILT/Houston 3.4 14t 3.3 15 967,300 861,800KKBQ/Houston^ 6.2 3 6.1 4 1,176,600 1,114,600KTHT/Houston^+ 2.0 18 1.8 20 521,300 522,700WFMS/Indianapolis 5.7 6 6.4 4 286,600 293,400WLHK/Indianapolis 6.5 5 7.1 1 326,100 327,500WGNE/Jacksonville 5.5 6 6.2 4 259,100 269,100WMUV/Jacksonville 2.1 15 1.9 15 120,500 116,500WQIK/Jacksonville 5.9 4 5.3 6t 264,200 265,100KBEQ/Kansas City^ 5.2 6 4.5 9t 389,800 369,600KFKF/Kansas City^ 5.8 3t 6.8 1 348,200 367,900WDAF/Kansas City 5.3 5 5.2 6 386,900 380,600KCYE/Las Vegas 2.9 15t 3.2 13 183,300 170,100KWNR/Las Vegas 2.8 17 2.4 18 204,700 194,000KKGO/Los Angeles 2.4 17t 2.1 20t 1,047,500 1,027,200WEBL/Memphis 1.6 17 1.3 18 92,200 86,100WGKX/Memphis 7.4 5 8.0 4t 228,400 232,300

WKIS/Miami 2.8 17 2.8 18 449,900 418,900

WNSH/New York (Middlesex) 3.7 9 3.8 10 186,200 180,900

WMIL/Milwaukee 10.5 1 11.9 1 510,600 510,800

KEEY/Minneapolis 6.7 5 6.3 6t 822,300 764,500

KMNB/Minneapolis 6.6 6 6.3 6t 727,100 727,100

WKDF/Nashville^ 5.0 8t 5.0 9 304,900 305,500

WSIX/Nashville 6.3 5t 5.2 8 298,300 279,900

WSM-FM/Nashville^ 5.0 8t 4.3 10 281,400 295,900

WSM-AM/Nashville 2.8 13t 3.0 12 57,400 60,300

WNSH/New York (Nassau) 1.5 23t 1.7 21t 171,100 176,600

WNSH/New York 2.2 19 2.0 18 1,142,800 1,045,000

WGH/Norfolk 6.3 3 7.3 3 271,900 286,900

WWKA/Orlando 6.6 3 6.3 4 302,900 294,400

KMLE/Phoenix 3.7 11 4.0 9 623,000 585,300

KNIX/Phoenix 5.6 2 4.8 3 674,100 618,900

WXTU/Philadelphia 6.3 2 5.5 3t 902,000 850,300

WDSY/Pittsburgh 7.3 4 6.5 5 529,200 508,400

KWJJ/Portland 6.1 4 5.8 5t 498,100 439,600

KUPL/Portland 5.7 5 6.4 3 453,100 455,500

WCTK/Providence 8.9 2 9.1 1 385,700 382,500

WNCB/Raleigh 4.2 9 4.4 9 211,700 222,400 (flipped to Country 11/1/13)

WQDR/Raleigh 11.1 1 11.4 1 338,100 354,000

KFRG/Riverside 3.5 3 3.9 5 292,100 280,900

KBEB/Sacramento 2.0 18 2.4 15t 193,300 207,100

KNCI/Sacramento 4.6 7 4.1 8 347,300 353,200

KNTY/Sacramento 4.1 10 3.8 10 285,900 207,100

KEGA/Salt Lake City 1.9 18 2.1 16t 228,400 223,200

KSOP/Salt Lake City 4.4 9t 4.0 12 261,000 261,100

KUBL/Salt Lake City 4.4 9t 4.7 8t 364,000 365,300

KAJA/San Antonio 7.0 3 6.6 3 513,600 546,100

KCYY/San Antonio^ 6.4 4 5.8 4 596,500 543,000

KKYX-AM/San Antonio^+ 1.5 18 1.7 18 117,100 135,200

KSON/San Diego 4.5 6 4.2 7t 443,000 468,900

KRTY/San Jose 4.0 9 4.1 8t 152,100 150,800

KKWF/Seattle 4.9 4 5.0 3 643,500 600,400

KMPS/Seattle 3.1 16t 3.1 17t 592,300 572,900

KSD/St. Louis 5.8 5 5.0 7t 580,800 554,700

WIL/St. Louis 7.0 2 6.4 2 609,900 595,400

WFUS/Tampa 4.7 8t 4.0 14 437,200 483,600

WQYK/Tampa 4.4 9 4.2 11t 391,700 410,700

WMZQ/Washington 4.0 10 3.8 10t 669,900 642,100

WIRK/West Palm Beach 5.2 1 4.3 5 187,900 168,900

July 6+ Share RankStation/City Rank August 6+

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September 8, 2014 Chart Page 1

LW TW Artist/Title (Label) Total Points +/- Points Total Plays +/- Plays Audience +/- Aud Stations ADDS

1 1 LADY ANTEBELLUM/Bartender (Capitol) 23030 -289 7623 -135 55.318 -1.488 149 0

2 2 KENNY CHESNEY/American Kids (Blue Chair/Columbia) 22861 847 7609 284 54.994 1.848 149 0

3 3 DUSTIN LYNCH/Where It's At (Broken Bow) 21953 228 7275 124 52.813 0.399 149 0

5 4 COLE SWINDELL/Hope You Get... (Warner Bros./WMN) 21153 1198 7095 349 50.777 3.928 149 0

7 5 LUKE BRYAN/Roller Coaster (Capitol) 4 20849 2152 6867 775 50.851 4.93 149 0

8 6 FLORIDA GEORGIA LINE/Dirt (Republic Nashville) 19875 1189 6551 393 48.641 3.111 149 0

4 7 TIM MCGRAW f/FAITH HILL/Meanwhile... (Big Machine) 16289 -3748 5317 -1426 38.741 -8.644 149 0

9 8 JASON ALDEAN/Burnin' It Down (Broken Bow) 4 15775 1967 5287 714 37.253 3.876 148 0

6 9 DIERKS BENTLEY/Drunk On A Plane (Capitol) 15733 -2972 5069 -1098 39.53 -7.456 149 0

10 10 CHASE RICE/Ready Set Roll (Columbia) 14338 971 4590 362 34.899 2.32 147 1

13 11 BRANTLEY GILBERT f/J. MOORE & T. RHETT/Small... (Valory) 13626 918 4591 289 32.53 1.585 149 0

11 12 M. LAMBERT & C. UNDERWOOD/Somethin' Bad (RCA/Arista) 13556 486 4517 149 33.362 1.25 147 0

14 13 SWON BROTHERS/Later On (Arista) 12059 121 4028 60 27.983 0.217 149 0

17 14 SAM HUNT/Leave The Night On (MCA) 12030 1044 3989 276 29.409 3.145 147 0

15 15 ELI YOUNG BAND/Dust (Republic Nashville) 11675 549 3862 251 28.187 1.146 149 0

16 16 FRANKIE BALLARD/Sunshine & Whiskey (Warner Bros./WAR) 11454 387 3908 187 26.947 0.934 147 1

20 17 LITTLE BIG TOWN/Day Drinking (Capitol) 11177 1061 3747 356 26.924 1.69 148 0

23 18 BLAKE SHELTON/Neon Light (Warner Bros./WMN) 4 10890 2190 3617 750 27.482 7.911 144 15

18 19 ZAC BROWN BAND/All Alright (Southern Ground) 10323 -338 3432 -74 24.76 -0.771 149 0

19 20 ERIC CHURCH/Cold One (EMI Nashville) 10251 8 3471 51 24.448 -0.109 149 0

21 21 BIG & RICH/Look At You (B&R/New Revolution) 10243 560 3337 163 21.368 1.192 139 1

22 22 KEITH URBAN/Somewhere In My Car (Capitol) 9629 305 3203 127 23.373 0.927 148 0

25 23 MADDIE & TAE/Girl In A Country Song (Dot Records) 8475 1229 2853 450 17.601 2.297 141 1

24 24 PARMALEE/Close Your Eyes (Stoney Creek) 8317 641 2885 231 18.643 1.287 146 1

GARTH BROOKS/People Loving People (Pearl/RCA) 4 7233 7233 2343 2343 20.897 20.897 131 122

2nd Week at No. 1

Debut



LW TW Artist/Title (Label) Total Points +/- Points Total Plays +/- Plays Audience +/- Aud Stations ADDS

27 26 SCOTTY MCCREERY/Feelin' It (19/Interscope/Mercury) 7037 520 2435 186 13.174 0.908 139 3

26 27 RASCAL FLATTS/Payback (Big Machine) 6830 24 2352 50 15.326 -0.169 147 0

28 28 CHASE BRYANT/Take It On Back (Red Bow) 5891 530 2050 170 10.996 0.393 115 4

29 29 DAVID NAIL/Kiss You Tonight (MCA) 5604 295 1919 124 11.911 0.561 142 2

30 30 BROTHERS OSBORNE/Rum (EMI Nashville) 4670 190 1722 77 8.225 0.494 130 2

31 31 DAN + SHAY/Show You Off (Warner Bros./WAR) 4660 394 1614 123 9.516 1.136 130 2

33 32 JUSTIN MOORE f/VINCE NEIL/Home... (Big Machine/Valory) 4639 469 1499 108 10.375 1.221 119 5

32 33 HUNTER HAYES/Tattoo (Atlantic/WMN) 4282 61 1394 93 8.686 0.161 120 4

35 34 RANDY HOUSER/Like A Cowboy (Stoney Creek) 4106 486 1426 144 6.772 0.506 128 3

34 35 LOVE AND THEFT/Night That You'll Never Forget (RCA) 3691 21 1311 7 5.91 0.122 127 1

39 36 BRETT ELDREDGE/Mean To Me (Atlantic/WMN) 3178 503 1040 99 6.279 1.499 99 3

36 37 RAELYNN/God Made Girls (Valory) 3138 146 1070 50 4.836 -0.054 95 1

38 38 JAKE OWEN/What We Ain't Got (RCA) 2980 123 971 39 5.839 0.069 100 4

37 39 JANA KRAMER/Love (Elektra/WAR) 2838 -46 990 23 4.207 -0.278 106 2

40 40 JOHN KING/Tonight, Tonight (Black River) 2718 89 980 34 3.781 0.165 103 1

42 41 THOMAS RHETT/Make Me Wanna (Valory) 2375 245 921 89 4.469 0.431 88 4

47 42 CHRIS YOUNG/Lonely Eyes (RCA) 2174 702 595 188 4.503 1.305 68 8

43 43 KRISTIAN BUSH/Trailer Hitch (Streamsound) 2019 203 667 75 5.243 0.581 82 5

50 44 DARIUS RUCKER/Homegrown Honey (Capitol) 1942 875 644 262 4.21 2.033 86 28

BRAD PAISLEY/Perfect Storm (Arista) 4 1898 1400 656 515 3.707 2.564 101 26

44 46 JERROD NIEMANN/Buzz Back Girl (Sea Gayle/Arista) 1881 115 711 52 2.859 0.181 94 0

45 47 JOSH THOMPSON/Wanted Me Gone (Show Dog-Universal) 1814 58 625 17 2.91 0.192 85 0

46 48 TYLER FARR/A Guy Walks Into A Bar (Columbia) 1633 -11 543 29 3.064 0.042 71 4

49 49 THE CADILLAC THREE/Party Like You (Big Machine) 1368 62 527 36 1.753 0.131 75 3

48 50 JAKE OWEN/Summer Jam (RCA) 1279 -57 345 -30 3.304 -0.033 18 1

Debut

https://www.youtube.com/watch?v=X8wXi9Qd-mg



Country Aircheck Add Leaders Adds

GARTH BROOKS/People Loving People (Pearl/RCA) 122

TIM MCGRAW/Shotgun Rider (Big Machine) 57

LEE BRICE/Drinking Class (Curb) 37

DARIUS RUCKER/Homegrown Honey (Capitol) 28

EASTON CORBIN/Baby Be My Love Song (Mercury) 27

BRAD PAISLEY/Perfect Storm (Arista) 26

BLAKE SHELTON/Neon Light (Warner Bros./WMN) 15

JOE NICHOLS/Hard To Be Cool (Red Bow) 9

CHRIS YOUNG/Lonely Eyes (RCA) 8

JUSTIN MOORE f/VINCE NEIL/Home... (Big Machine/Valory) 5

Country Aircheck Top Spin GainersGARTH BROOKS/People Loving People (Pearl/RCA) 2343

LUKE BRYAN/Roller Coaster (Capitol) 775


JASON ALDEAN/Burnin' It Down (Broken Bow) 714


MADDIE & TAE/Girl In A Country Song (Dot) 450

FLORIDA GEORGIA LINE/Dirt (Republic Nashville) 393

CHASE RICE/Ready Set Roll (Columbia) 362

LITTLE BIG TOWN/Day Drinking (Capitol) 356

COLE SWINDELL/Hope You Get Lonely... (Warner Bros./WMN) 349

Country Aircheck Top Point GainersGARTH BROOKS/People Loving People (Pearl/RCA) 7233 4BLAKE SHELTON/Neon Light (Warner Bros./WMN) 2190 4LUKE BRYAN/Roller Coaster (Capitol) 2152 4JASON ALDEAN/Burnin' It Down (Broken Bow) 1967 4BRAD PAISLEY/Perfect Storm (Arista) 1400 4MADDIE & TAE/Girl In A Country Song (Dot) 1229

COLE SWINDELL/Hope You Get Lonely... (Warner Bros./WMN) 1198



SAM HUNT/Leave The Night On (MCA) 1044

Activator Top Spin GainersGARTH BROOKS/People Loving People (Pearl/RCA) 592


LUKE BRYAN/Roller Coaster (Capitol) 223


CHASE RICE/Ready Set Roll (Columbia) 176

MADDIE & TAE/Girl In A Country Song (Dot) 162


FRANKIE BALLARD/Sunshine... (Warner Bros./WAR) 126


DUSTIN LYNCH/Where It's At (Broken Bow) 103

Activator Top Point GainersGARTH BROOKS/People Loving People (Pearl/RCA) 2335 4BLAKE SHELTON/Neon Light (Warner Bros./WMN) 1124 4LUKE BRYAN/Roller Coaster (Capitol) 785 4BRAD PAISLEY/Perfect Storm (Arista) 779 4CHASE RICE/Ready Set Roll (Columbia) 742 4MADDIE & TAE/Girl In A Country Song (Dot) 606


SCOTTY MCCREERY/Feelin' It (19/Interscope/Mercury) 464

FRANKIE BALLARD/Sunshine & Whiskey (Warner Bros./WAR) 435

BRANTLEY GILBERT f/J. MOORE & T. RHETT/Small...(Valory) 389

Country Aircheck Top Recurrents Points

LEE BRICE/I Don't Dance (Curb) 11114

JOE NICHOLS/Yeah (Red Bow) 9537

BRAD PAISLEY/River Bank (Arista) 8816

BILLY CURRINGTON/We Are Tonight (Mercury) 8437

LUKE BRYAN/Play It Again (Capitol) 7320

CHRIS YOUNG/Who I Am With You (RCA) 6653

JAKE OWEN/Beachin' (RCA) 6285

THOMAS RHETT/Get Me Some Of That (Valory) 6043

JERROD NIEMANN/Drink To That All... (SeaGayle/Arista) 5707

BRETT ELDREDGE/Beat Of The Music (Atlantic/WMN) 5660


BRAD PAISLEY/Perfect Storm (Arista) Debutsat45* 1,898points,656spins 26addsincluding: KBEQ, KCYY*, KFRG, KKWF, KWJJ, WCKT, WCTK, WCTQ, WDAF, WEZL

JERROD NIEMANN/Buzz Back Girl (Sea Gayle/Arista) Moves44-46* 1,881 points, 711 spins No adds

JOSH THOMPSON/Wanted Me Gone (Show Dog-Universal) Moves45-47* 1,814points,625spins No adds

TYLER FARR/A Guy Walks Into A Bar (Columbia) Moves46-48* 1,633points,543spins 3 adds: KHGE, WNSH*, WRNX

THE CADILLAC THREE/Party Like You (Big Machine) Remains at 49* 1,368points,527spins 3 adds: WGNA, WLHK, WRBT

JAKE OWEN/Summer Jam (RCA) Moves48-50 1,279points,345spins 1 add: WBBS

DEAN ALEXANDER/Live A Little (Elektra/WEA) 1,062points,415spins 1 add: WUBE

MONTGOMERY GENTRY/Headlights (Blaster) 1,045points,409spins 1 add: WNOE

CANAAN SMITH/Love You Like That (Mercury) 1,003 points, 379 spins 1 add: WTHT

LEE BRICE/Drinking Class (Curb) 981points,327spins 37 adds including: KAJA, KASE, KBEQ, KEEY, KFDI, KFGY, KHGE, KILT, KKIX, KKWF

CouNTRY AIRCheCk ACTIvITY

SePTeMbeR 15JOSH TURNER/Lay Low (MCA)OLIVIA LANE/Steal Me Away (Big Spark)JACKIE LEE/She Does (BBR)TRISHA YEARWOOD/Prizefighter (Gwendolyn/RCA)

SePTeMbeR 22KELSEA BALLERINI/Love Me Like You Mean It (Black River)JON PARDI/When I’ve Been Drinking (Capitol)KATIE ARMIGER/One Night Between Friends (Cold River)

SePTeMbeR 29CHUCK WICKS/Saturday Afternoon (Blaster)SARA EVANS/Put My Heart Down (RCA)

Send yours to [email protected].

A D D DAT E S

C H E C K O U T 9 / 9Alabama Angels Among Us: Hymns & Gospel Favorites (Cracker Barrel)From “I Saw The Light” to “I’ll Fly Away” the group’s new project is full of gospel favorites plus their own inspirational classic, the title cut.

Lee Brice I Don’t Dance (Curb)Brice followed up the No. 1 title cut with “Drink-ing Class” - and there’s much more to come from the16-trackalbumonwhichheplayedmanyof the instruments (guitar, banjo, drums) and produced.

Dustin Lynch Where It’s At (Broken Bow)Lynch’s follow-up to Cowboys And Angels is already off to a great start with the gold-certified title cut. The album was produced by Brett Bea-vers (Dierks Bentley), Luke Wooten (Brad Paisley) and Mickey Jack Cones (Jason Aldean).

Brothers Osborne Self-Titled (EMI Nashville)TheMarylandsiblingduo’s5-songprojectincludesthe feel-good summer song “Rum” and introduces fans to their swampy groove-soaked sound.


mailto:adds%40countryaircheck.com

Chart Page 5September 8, 2014

©2014 Countr y Aircheck™ — Al l r ights reser ved. 4=Top 5 point gainers. S ign up f ree at w w w.countr yaircheck .com

LW TW Artist/Title (Label) Points +/- Points Plays +/- Plays Stations Adds

1 1 KENNY CHESNEY/American Kids (Blue Chair/Columbia) 9025 362 2334 100 54 0

2 2 LADY ANTEBELLUM/Bartender (Capitol) 8728 143 2217 32 53 0

5 3 DUSTIN LYNCH/Where It's At (Broken Bow) 8319 334 2138 103 53 0

4 4 COLE SWINDELL/Hope You Get Lonely Tonight (Warner Bros./WMN) 8237 224 2075 80 54 0

8 5 LUKE BRYAN/Roller Coaster (Capitol) 4 7804 785 2014 223 54 0

7 6 FLORIDA GEORGIA LINE/Dirt (Republic Nashville) 7510 467 1931 139 53 0

3 7 TIM MCGRAW f/FAITH HILL/Meanwhile Back At Mama's (Big Machine) 6456 -2039 1677 -480 47 0

10 8 JASON ALDEAN/Burnin' It Down (Broken Bow) 5720 351 1475 99 50 1

12 9 BRANTLEY GILBERT f/J. MOORE & T. RHETT/Small Town Throwdown (Valory) 5619 389 1471 78 52 0

13 10 M. LAMBERT & C. UNDERWOOD/Somethin' Bad (RCA/Arista) 5496 269 1441 65 51 0

14 11 FRANKIE BALLARD/Sunshine & Whiskey (Warner Bros./WAR) 5154 435 1287 126 54 0

18 12 CHASE RICE/Ready Set Roll (Columbia) 4 5145 742 1284 176 49 2

11 13 SWON BROTHERS/Later On (Arista) 5014 -278 1277 -35 52 0

15 14 LITTLE BIG TOWN/Day Drinking (Capitol) 4978 355 1234 113 54 1

16 15 ERIC CHURCH/Cold One (EMI Nashville) 4822 204 1214 39 52 0

19 16 SAM HUNT/Leave The Night On (MCA) 4652 343 1168 99 52 1

20 17 KEITH URBAN/Somewhere In My Car (Capitol) 4417 367 1145 100 53 1

18 ELI YOUNG BAND/Dust (Republic Nashville) 4414 297 1121 90 48 0

22 19 BLAKE SHELTON/Neon Light (Warner Bros./WMN) 4 4304 1124 1129 282 52 10

23 20 MADDIE & TAE/Girl In A Country Song (Dot) 3602 606 930 162 51 2

21 21 RASCAL FLATTS/Payback (Big Machine) 3450 -16 876 9 52 0

24 22 BIG & RICH/Look At You (B&R/New Revolution) 3207 336 781 84 47 1

25 23 SCOTTY MCCREERY/Feelin' It (19/Interscope/Mercury) 3133 464 747 91 49 2

26 24 PARMALEE/Close Your Eyes (Stoney Creek) 2745 250 703 72 46 0

27 25 DAVID NAIL/Kiss You Tonight (MCA) 2428 69 619 14 46 0

26 GARTH BROOKS/People Loving People (Pearl/RCA) 4 2335 2335 592 592 39 38

29 27 CHASE BRYANT/Take It On Back (Red Bow) 1959 236 446 75 33 4

28 28 JUSTIN MOORE f/VINCE NEIL/Home Sweet Home (Big Machine/Valory) 1944 26 532 15 42 1

31 29 RANDY HOUSER/Like A Cowboy (Stoney Creek) 1874 246 511 62 45 1

30 30 BROTHERS OSBORNE/Rum (EMI Nashville) 1856 218 439 64 43 2

2nd Week at No. 1

Re-enter

Debut

Chart Page 6September 8, 2014

©2014 Countr y Aircheck™ — Al l r ights reser ved. 4=Top 5 point gainers. S ign up f ree at w w w.countr yaircheck .com

LW TW Artist/Title (Label) Points +/- Points Plays +/- Plays Stations Adds

32 31 DAN + SHAY/Show You Off (Warner Bros./WAR) 1632 44 390 2 39 2

35 32 JAKE OWEN/What We Ain't Got (RCA) 1300 119 338 45 39 4

34 33 JOHN KING/Tonight, Tonight (Black River) 1251 27 257 6 27 1

36 34 THOMAS RHETT/Make Me Wanna (Valory) 1153 133 283 40 29 2

48 35 BRAD PAISLEY/Perfect Storm (Arista) 4 1122 779 282 195 31 14

38 36 BRETT ELDREDGE/Mean To Me (Atlantic/WMN) 1057 70 261 19 24 2

40 37 HUNTER HAYES/Tattoo (Atlantic/WMN) 986 165 246 36 27 1

37 38 RAELYNN/God Made Girls (Valory) 966 -42 223 -13 21 0

39 39 JANA KRAMER/Love (Elektra Nashville/WAR) 868 -52 187 -11 21 1

43 40 DARIUS RUCKER/Homegrown Honey (Capitol) 754 225 164 57 21 3

45 41 CHRIS YOUNG/Lonely Eyes (RCA) 688 239 156 51 16 4

41 42 LOVE AND THEFT/Night That You'll Never Forget (RCA) 668 -67 180 -9 25 2

42 43 JOSH THOMPSON/Wanted Me Gone (Show Dog-Universal) 583 -26 142 -8 16 0

44 44 KRISTIAN BUSH/Trailer Hitch (Streamsound) 473 -7 106 3 14 0

46 45 JERROD NIEMANN/Buzz Back Girl (Sea Gayle/Arista) 397 -23 98 -6 15 0

51 46 TIM MCGRAW/Shotgun Rider (Big Machine) 386 168 124 63 12 7

47 47 TYLER FARR/A Guy Walks Into A Bar (Columbia) 368 -5 92 1 10 1

58 48 LEE BRICE/Drinking Class (Curb) 344 199 80 52 10 7

49 49 JOE NICHOLS/Hard To Be Cool (Red Bow) 298 37 59 14 7 5

54 50 MONTGOMERY GENTRY/Headlights (Blaster) 270 78 61 22 7 1

51 DEAN ALEXANDER/Live A Little (Elektra/WEA) 237 107 37 16 2 0

50 52 KIP MOORE/Dirt Road (MCA) 228 -18 50 -6 8 0

55 53 THE CADILLAC THREE/Party Like You (Big Machine) 221 35 89 9 9 1

53 54 SUNNY SWEENEY/Bad Girl Phase (Crescendo/Thirty Tigers) 203 -9 36 -3 2 0

52 55 BEN RUE/I Can't Wait (Be My Wife) (Arista) 198 -16 65 -7 9 0

57 56 LUCY HALE/LieALittleBetter(DMG/In2une) 154 3 62 10 11 0

57 LEE ANN WOMACK/The Way I'm Livin' (Sugar Hill) 142 9 45 2 7 0

58 CRAIG MORGAN/We'll Come Back Around (Black River) 138 11 35 1 8 0

60 59 CANAAN SMITH/Love You Like That (Mercury) 133 0 36 0 4 0

60 OLIVIA LANE/Steal Me Away (Big Spark/Star Farm) 130 62 28 18 4 1

Debut

Debut

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