'MusicRow' No. 1 Song

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Taylor Swift at Nashville's Sept. 21 'Red Tour' stop.

Taylor Swift at Nashville’s Sept. 21 ‘Red Tour’ stop.


It took one superstar, 11 band members and 15 dancers nearly one year and 60 stops on Taylor Swift‘s North American Red Tour to place the track by that same title at the No. 1 spot on our MusicRow Chart. Ok, that may be somewhat misleading – a record label’s radio promotion team has much to do with it. But in all seriousness, Swift’s self-penned single, “Red,” hit our chart only 18 weeks ago as the fifth radio single and title track from Swift’s Big Machine Records release.
Like the Dann Huff, Nathan Chapman and Swift-produced “Red,” eight additional tracks (11 on the deluxe) were self-penned by the muse. Every other song on Red was still a co-write for Swift, who was recently honored by NSAI. The songwriting trophy, bestowed upon the 23-year-old singer for the sixth time, will be displayed in the Taylor Swift Education Center in the Country Music Hall of Fame, which she opened Saturday morning (Oct. 12).
To date, Red has sold over 6 million copies worldwide, which Swift will begin capitalizing on next month with the beginning of her international Red Tour. Stops are planned Down Under, beginning Nov. 29 in Auckland, New Zealand and will continue through in 2014 with five bookings at London’s O2 arena.
Not only is Swift writing and performing songs these days, she’s taken merchandise branding by storm with this Big Machine Records release. She carries a shoe collection (Keds), a Diet Coke sponsorship (complete with her own can), and a perfume (Elizabeth Arden), in addition to recent campaigns with Cover Girl, Sony, American Greetings, Papa John’s, and Target.
There seems to be no stopping Taylor’s achievements. In a release by the label, Swift recently commented about her upcoming songwriting and album plans. “I really like to take two years to write a record, and I’ve been writing for the last year. This is the year that it goes into overdrive, and it’s all I think about.”
If you want evidence of the legacy she’s leaving behind, catch a glimpse of the “Red” music video below, or watch footage of the special guests Swift brought on stage for her final North American shows in Nashville, Sept 19-21.

Artist Updates (10/18/13)

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Mandisa and Katie Couric

Mandisa and Katie Couric


• Mandisa’s chart-topping hit, “Overcomer,” has been adopted by ABC-TV’s Good Morning America as a new series. The series launched this week with co-host Robin Roberts using both the song and title in national TV and web ads. The spotlight features viewers sharing stories with Roberts about a dream they fulfilled. Mandisa will appear on the Katie show Oct. 21, and the following day will perform on the Grand Ole Opry’s fifth annual “Opry Goes Pink” show where breast cancer survivors will be recognized.
 
nichols

Joe Nichols


• Joe Nichols did his part for breast cancer awareness last night (10/17) at a show at the Hard Rock Houston as part of its annual Pinktober campaign. Local artist Breelan Angel also joined Nichols on the bill for the show, which benefits The Rose, Houston’s leading breast cancer organization.
 
 
Sara Evans

Sara Evans


• Sara Evans will perform the national anthem at the upcoming Indianapolis Colts/Denver Broncos game Oct. 20 at Lucas Oil Stadium in Indianapolis. The game will be the first primetime game for the Colts since 2011 as they take on the Broncos, and Evans will also perform during halftime of the matchup. Her new single, “Slow Me Down,” was recently released to radio.
 
Switchfoot

Switchfoot


•Switchfoot recently broke a Billboard chart record with its latest single, “Love Alone Is Worth The Fight,” from its upcoming new CD, Fading West, due out Jan. 14. The single has every Billboard Christian Hot AC/CHR reporting station playing it in its debut week, which is the only time that has happened to a single since the chart’s inception in 2006. The song also claims its highest debut position ever on the National Christian Audience chart at No. 34.

MusicRow: Exclusive Interview with IEBA's Pam Matthews

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ieba91211MusicRow recently spoke with International Entertainment Buyers Association (IEBA) Executive Director Pam Matthews about the upcoming 43rd annual IEBA conference, which runs from Oct. 19-22 at the newly opened Omni Hotel in Nashville. The conference is expected to welcome approximately 800 attendees.
Matthews’ 30+ year career in the music industry began while she was still in her teens. “I’ve always been a concert promoter at heart,” she says. She worked at Mid South Concerts in Memphis, Tenn., followed by assisting Louis Messina’s Pace Concerts in opening and managing Nashville’s Starwood Amphitheater. In 1988, she joined the Judds’ management company, rising to the rank of VP and Treasurer of Wynonna, Inc. and J2K, Inc. She transitioned to the role of General Manager at the Ryman Auditorium. During her tenure, the theatre received its National Historic Landmark status, its first Pollstar Theatre of the Year honor, Academy of Country Music Venue of the Year, and IEBA Venue of the Year. Matthews took on the role of Executive Director at IEBA in March 2013.
MR: The IEBA conference has a history of helping to “break” artists by putting them in front of influential promoters and entertainment buyers.
Pam Matthews: There are so many, and it continues today. The first major act that broke after showcasing at IEBA was Barbara Mandrell in 1974. In 1989, both Garth Brooks and Vince Gill showcased at IEBA. Last year, it was Florida Georgia Line. They showcased last year, and now they are the biggest thing out there. The year before that, it was The Band Perry.
MR: What is the state of the touring and live entertainment facet of the music industry now?
PM: We are the one part of the industry that you can’t replicate. It is a wonderful place to be, because no one can steal it from you and no one can package it in a different way. You have to be there. The live thing is the thing. It’s the deal right now, so it’s the money-maker. The distribution, publishing and record distribution sectors have been scrambling to keep up for the past several years. We are lucky in that the only challenges we have are marketing and distribution.
MR: We see more mid-level artists doing headlining tours now. How has that affected the touring industry?
PM: We used to have seven headliners and now we have 22-23. There are 52 Saturdays in a year and you’ve got that many headliners, just arguably in the country, country-pop genre. Where are they going play? It’s a challenge when you look at the calendar. Throw out any dates past Thanksgiving, throw out Valentine’s Day and Memorial Day and Fourth of July. Managing the calendar, especially at the arena level, is an issue and it’s called traffic. That’s what we call it. There’s a lot of traffic issues for the big arenas and festivals.
MR: Highlight some of the panels that will be featured during the IEBA conference.
PM: Monday [Oct. 21] there are four different topics in the same time frame. If you are a corporate buyer, you’ll want to go to the Corporate 360 session. There is the Safety and Emergency Procedures panel; if you manage a building and are on the operations side of a venue, then those are huge questions that we need to discuss. If you are an agent or in management, there is a panel that focuses on taking an act from one level to the next. If you work at a larger venue or one of the major fairs and festivals, your topic is traffic.
It is a lot to take in during a short amount of time, but that’s what a good conference does. You should be exhausted when you leave. There is so much pertinent information.
MR: Talk about IEBA’s mentoring and educational efforts.
PM: I think that people don’t realize how much mentoring and education is a part of IEBA. We do mixers in several cities across the country to mentor students. IEBA pays for certain internships for students who want to work at, for example, a major festival, in order to learn the business of live music entertainment. The organization also funds more than half a million in scholarships across the country. At Belmont University’s Curb School of Music, IEBA endows more scholarships than anyone, second only to Vince Gill. I think it always has been a passion from the very beginning.
MR: What else can attendees look forward to at the IEBA conference this year?
PM: Agents Alley. It is an IEBA tradition. The conference has had Agents Alley for 40+ years. Agents sit at tables with their artist avails and routing books, and people start making offers and booking dates. It’s unique to IEBA, and it’s old-school. The catch-phrase ‘The buying starts here’ comes from Agents Alley. The buying season starts with us.
For more information IEBA, visit ieba.org.

Anderson, Braddock, Gill Among 2014 Songwriters Hall of Fame Nominees

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songwriters hall of fame 2013 logo111Vince Gill, Bobby Braddock and Bill Anderson are among the nominees for the 2014 Songwriters Hall of Fame. They are nominated this year alongside Madonna, John Mellencamp, Led Zeppelin’s Jimmy Page and Robert Plant, Cyndi Lauper, Linda Perry, Ray Davies,  Sade, Heart’s Ann and Nancy Wilson, Nile Rodgers, Bernard Edwards, Donovan, Cat Stevens, and Harry Wayne Casey.
Nonperforming songwriter category nominees also include “Midnight Train to Georgia” writer Jim Weatherly, and Motown songwriter William “Mickey” Stevenson. Mark James, the writer behind “Always on My Mind” — covered by Elvis Presley and Willie Nelson — is nominated alongside Don Robertson, Graham Gouldman and Tony Macaulay. Writing duos Hugo & Luigi, Sandy Linzer and Denny Randell, and Dan Penn and Spooner Oldham will also compete.
Key songs in Gill’s catalog include “Don’t Let Our Love Start Slippin’ Away,” “I Still Believe In You,” “If You Ever Have Forever In Mind,” “Never Knew Lonely,” and “One More Last Chance.” Braddock penned the hits “D-I-V-O-R-C-E,” “Golden Ring,” “He Stopped Loving Her Today,” “Time Marches On,” and “Would You Catch A Falling Star?”. Meanwhile, Anderson’s catalog of hit songs includes “Mama Sang A Song,” “Po’ Folks,” “Still,” “Tips Of My Fingers,” and “Whiskey Lullaby.”
The gala will be held June 12, 2014 at the New York Marriott Marquis. Eligible voters can select two nominees from the list of songwriter-performers and three nonperforming songwriters. Voting ends Dec. 16.
For more information, visit songhall.org.

MusicRow: Exclusive Interview with Producer Joey Moi

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Joey Moi promo11

Joey Moi

Joey Moi, a native of Tumbler Ridge, British Columbia, has sent fresh sounds spinning through Country radio’s airwaves as the producer behind Republic Nashville duo Florida Georgia Line‘s debut album, Here’s To The Good Times, including their smash hit single “Cruise.” The musical juggernaut spent 24 weeks atop the Soundscan Hot Country Songs chart, the longest stay for any song in the chart’s 69-year history. Moi was also one of the producers behind Jake Owen’s Barefoot Blue Jean Night and the producer behind his latest project, Days of Gold, which releases Dec. 3 on RCA Nashville. The Barefoot Blue Jean Night project garnered the chart-toppers “Anywhere With You,” “Alone With You,” “The One That Got Away” and the title track, which earned Owen his first No. 1 single.

Prior to his Country music success, Moi ascended from engineering to co-producing albums for rock band Nickelback, including projects The Long Road and Dark Horse. While attending CDIS School of Engineering and Sound in Vancouver, a classmate of Moi’s lived with members of Nickelback, who, at the time, had just completed a five-song EP and “were getting the 11 p.m. spin on the local rock station,” according to Moi. He did janitorial and security work at school, and was paid in free studio time. He used the time to record and engineer with Nickelback. “I could use the school studio between midnight and 8 a.m., so we would make demos until eight in the morning,” says Moi. “They were hard-working guys and gave everyone the opportunity to earn a spot. If you worked hard, they embraced that. It was obviously huge for my career.”
In addition to becoming a notable producer and engineer, Moi gained recognition as a songwriter.  Moi’s songs include Tim McGraw’s “It’s A Business Doing Pleasure With You,” Nickelback’s “Burn It To The Ground,” and Daughtry’s “Life After You.” “Porn Star Dancing,” penned with My Darkest Days, topped the Mainstream Rock Tracks chart. He also has songwriting credit on FGL’s “Cruise.”
MusicRow: How did you first become involved in the music industry?
Joey Moi: I had a co-op program in high school. I was really into the technical side of stuff, all the consoles and the gear. They sent me down to Vancouver to a couple of recording studios, then to a small Country radio station, where they had me editing. Everything was reel-to-reel. The music director would scratch off songs he didn’t want anymore. This was right around the time that [Alan Jackson’s] “Chattahoochee” came out. That song was huge, but eventually, he would scratch off a song. I’d have to go through the stack of reels, find the song, cut them out and tape the reel back together. It was great training for getting into production, because I learned Country radio at the same time I was learning to record in a studio. At that age, I had no idea it would prepare me for what I do now.
MR: When did you discover your talent for crafting songs?
JM: That happened later in the Nickelback records. I had always been in the room while they wrote songs. I picked up rhyme scheme and alliteration and internal rhyme scheme, all those songwriting 101 skills. Once I got on the same page, I was able to make suggestions. We would write and produce it at the same time. Now I’ve come full circle. There was a two-year period of my life where all I did was write songs. For the past two years, I’ve produced songs, which is great. I would eventually love to write more.
MR: In October 2010, you signed a publishing agreement with Big Loud Shirt. How did you begin working with people in Nashville?
JM: I always loved a good literal lyric and that was something you found in Country music. In Vancouver, Chad [Kroeger] from Nickelback and I produced a guy in a band called Default. As Default kind of hit a wall creatively, and all those guys moved on, the singer and I talked about doing a Country album for him. My manager hooked us up with co-writes in Nashville. We came down here for two weeks and wrote with everybody. We met Seth England and Craig Wiseman, Rodney Clawson and all these guys, and wrote with other guys, too, like Tom Douglas. We got to know everyone through that album process.
At the time, I was looking for a publishing deal. I liked stuff about the publishing deal here better than what was happening out of New York or Los Angeles; they had longer, more aggressive deals and I wanted something more low-key. It just worked out to be a perfect fit.
MR: Talk about the process of producing Florida Georgia Line’s smash hit, “Cruise.”
JM: Part of the development process we did with FGL was to implement ‘better is better.’ Just because the song is written, doesn’t mean it can’t be re-written. In Vancouver, when we would write a song, we would go into the studio, start from scratch, and re-write. Nothing is sacred. The process I come from is very different from Nashville, where normally you get your song, go into the studio, have the band play it and move on. You don’t sit in the studio and re-write it. We wanted Brian [Kelley] and Tyler [Hubbard] to embrace the re-writing process, and they completely did. They took the leap of faith immediately. We added parts and revised things on “Cruise.” It was one of those cosmic days where it really worked. There was good creativity flowing.
MR: Thanks to iTunes, Shazam and other technology, single sales are booming again. How does that affect you as an album producer?
JM: I make CDs for a living and I haven’t bought a CD in like 10 years. You can Shazam and whatever the app is and buy it right there. It’s definitely made us take the approach that if you want someone to buy the entire album, you should have an album’s worth of songs that sound like singles. Then people will buy the whole thing, in theory. I find we do fewer album cuts or artistic songs. We spend time pointing everything at radio, which is I assume pointing to a larger kind of audience. That’s the theory. It doesn’t work every time. You do it a million times and one hits.

Florida Georgia Line and Moi celebrate 1 million digital downloads. Photo credit: Steve Lowry

Pictured (Back row, L-R): Seth England (Big Loud Shirt), Joey Moi, Kevin “Chief” Zaruk (Chief Music Management), Craig Wiseman (Big Loud Shirt). Front: Florida Georgia Line. Photo: Steve Lowry


MR: What is the biggest difference in producing a band or duo, vs. producing a solo artist?
JM: In a band scenario, you are managing the creativity of four or five different people. Some people are really creative and others aren’t as creative. Some are strong musicians; others, not as strong. You try to make sure everyone feels like they have been completely involved in the album process. Normally, you don’t come out of that victorious. That’s the nature of working with bands.
Solo artists, for example, with Jake Owen, we picked the songs, recorded the tracks and he sang the songs. He’s very easy-going with things. Not often does Jake come in and say, ‘I don’t like this at all.’ He’ll hear a track we’ve built up with his scratch vocal on it, come in the studio and bang it out, and he’s happy. [Florida Georgia Line’s] Brian and Tyler are more involved in the writing, so it’s important to find moments for each of them vocally. You have to find the big moments for Brian and the big moments for Tyler, and make it work to help brand them as a duo.
MR: Jake Owen already had two albums out before Barefoot Blue Jean Night was released [in 2011]. What was your approach with that album and with Days of Gold?
JM: Jake’s such a good singer, but we needed to brand Jake in a way. He has a special gift with his voice. He sings effortlessly. The best way to answer that is for him to find those songs that accent his voice. Coming from my background, we take a very rock approach to making records. On Jake’s first stuff we did, we did a standard Nashville session where you hire all the badass players in town, but I came back and did an additional overdub session. We built the tracks layer by layer—you obsess with every harmony vocal, every drum fill and groove and every lick. That turned out to be a unique sound that we created for Jake.
At the last second, “Barefoot Blue Jean Night” came in. That song was risky, because it was a foreign production model for Country radio. It showed up late and we had spent so much of the budget that we couldn’t get back into a studio and hire a band the traditional way. We built it out of loops. We literally had like $3,000 left in the budget to make the last song. We hired two musicians. I was using my Pro Tools editor and singing background vocals. Rodney [Clawson] came and sang the harmonies on it. We slapped it together and it’s the biggest song of his career so far.
MR: What has been the biggest difference between the album-making process in Vancouver, and the process in Nashville?
JM: We had our own studio and would work on a record until it was done. Here, it is the city of protocol. You’ve got three hours to get it done. That’s been an adjustment to get back on the clock, but of all the cities I’ve worked in, this feels like home.
MR: Florida Georgia Line’s debut album will get the deluxe repackage treatment on Here’s To The Good Times: This Is How We Roll, which releases Nov. 25. What can you tell us about this deluxe project?
JM: You can only put about 11 songs on a typical record, so there is always that one type of song you wanted to put on it, but you couldn’t include. Here, there’s an opportunity to do a ballad, to touch on some topics we haven’t addressed, and to add a little depth to their overall perception.

Industry Ink (10/18/13)

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sidewalkRob Ellis, Midwest/Northeast regional rep, has exited Sidewalk Records. Ellis previously worked in radio promotions for MCA. The exit comes just days after Sidewalk Records’ head of promotion, Larry Hughes, exited the company. Ellis can be reached at 317-443-8575 or at [email protected].

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Belmont University’s Curb College of Entertainment and Music Business hosted the first of this year’s ASCAP Writers’ Nights on Tuesday, Oct. 8. The evening began with the presentation of the 2013-14 ASCAP Foundation Songwriters Scholarship at Belmont University to junior songwriting major Alysa Vanderheym.
This $2000 award, made possible by The ASCAP Foundation Bart Howard Fund, will support Vanaderheym’s academic endeavors. Vanderheym is the seventh Belmont songwriting student to receive The ASCAP Foundation Songwriters Scholarship since its inception at Belmont in 2008.

Pictured (L-R): LeAnn Phelan (ASCAP), Alysa Vanderheym (2013 ASCAP Foundation Songwriters Scholarship recipient), James Elliott (chair, Songwriting Program).

Pictured (L-R): LeAnn Phelan (ASCAP), Alysa Vanderheym (2013 ASCAP Foundation Songwriters Scholarship recipient), James Elliott (chair, Songwriting Program).

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Artist/instructor Gail McDaniel welcomed student artist Linda Curb and music industry professional Mike Curb to the “Building Bridges Through Art” exhibition and silent auction at CharacterEYES Boutique in downtown Franklin, Tenn. on Oct. 12. The event helped raise more than $4,000 for the non-profit Bridges Domestic Violence center.
The exhibition of original artwork will continue through Oct. 31.

Pictured (L-R): Mike Curb, Gail McDaniel, Linda Curb

Pictured (L-R): Mike Curb, Gail McDaniel, Linda Curb

Charlie Cook On Air: Three No. 1 Songs Each Week?

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Charlie Cook

Charlie Cook


Tyler Farr had his first No. 1 song on Mediabase earlier this month. Sony worked hard to get that accomplished and  should be proud of the accomplishment. I am sure Tyler will have more No. 1s. This week Billy Currington got the spins for a No. 1 song on Mediabase. Tyler shared his peak position with Billy last week because “Hey Girl” was number in Billboard. So actually we had two No. 1 songs the same week and now Billy has ascended to number one in Mediabase too. Add in the MusicRow chart, and maybe we should set a goal of having at least three No. 1 songs every week.
The bragging rights would be fascinating. Kind of like ESPN on Saturday where a half dozen College team fans are chanting, “We’re No. 1.” TV has it covered. Alabama fans are No. 1 on ESPN. Oregon can be No. 1 on ESPN2 and Clemson can be No. 1 on ESPNU.
Maybe we can also set up a playoff scheme where Billy plays Tyler, with the winner taking on Thomas Rhett, who appears set to be No. 1 next week. Every month we have a winner and then at the end of the year we set a 12-team (maximum) tournament. Now, it is possible the same act will win more than once, reducing the number in the tourney. I can see the bidding war to broadcast this. (Cumulus/CBS/Clear Channel/Townsquare). Now we’re talking real money. Not the shallow bragging rights of being No. 1 for one out of 52 weeks.
If this is all for bonus money, let’s kick this into high gear and have it mean something to radio and the listeners who wouldn’t know a No. 1 record from any of the other seven to nine records that play in the exact same rotation as the “No. 1” song each week. I take that back. Radio is well-aware, because programmers are called for weeks leading up to this magical coronation imploring them to position the song for maximum spins on X week. By the way, “so-and-so is over so you can move it out (and out of my way) in the next week.”
Now, there is a benefit to this “sharing” of information. I have discovered no going for number one song has ever, in the history of radio research, had a bad score the weeks leading up to, or going, for the top spot. Heck, why do I even look at my research? Well, because in many cases it doesn’t jibe with what I’m hearing.
If a game is played we should keep score. And I guess this is keeping score. I just think the game actually hurts record sales. Everything is geared towards the first week of a CD release and then we’re on to something else. And once the song makes No. 1, the promotion teams forget about it. I can show you time after time that acceptance of music comes way after the peak chart position. Recurrent music is more accepted by the listener than currents. The time to sell music is when the listener puts the singer with the song.
Selling 30,000 CDs is not an accomplishment that is going to make anyone rich.
The tournament? Now that could make someone rich.
(The views expressed in this article are those of the author and do not necessarily reflect those of MusicRow.)

Miller Inks Publishing Deal With Warner/Chappell

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Lee Miller

Lee Miller


Lee Miller, the writer behind such hits as “In Color,” “The Impossible” and “You’re Gonna Miss This,” has signed with Warner/Chappell Music for publishing.
The Kentucky native has won Song of the Year honors from the ACM, CMA, ASCAP, MusicRow, and the NSAI for his songs, and has had numerous nominations including Grammy nominations for both “You’re Gonna Miss This,” and “In Color.” He has penned No. 1 singles for Joe Nichols (“The Impossible”), Terri Clark (“I Just Wanna Be Mad”), and Brad Paisley (“The World” and “I’m Still A Guy”), and is currently on the charts with Tim McGraw’s “Southern Girl,” and Chris Stapleton’s “What Are You Listening To?.” He has also had cuts by Rascal Flatts, Dierks Bentley, Josh Turner, Randy Travis, Billy Currington, Craig Morgan, Chris Young, and others.
“When Lee Miller steps into a session, his co-writers know it’s going to be a great day,” said Executive VP, Warner/Chappell Music Nashville Ben Vaughn. “Not only is he a tremendous songwriter, he’s also an incredibly smart and generous guy who contributes so much of his time and energy to protecting the rights of songwriters in his role as President of the Nashville Songwriters Association International. We’re so pleased to work with Lee and look forward to help further build his already-illustrious career.”

Weekly Chart Report (10/18/13)

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SPIN ZONE

Atlantic/WMN star Hunter Hayes (R) recently visited with WCYQ’s Mike Hammond (L) in Knoxville for his Let’s Be Crazy Tour kickoff. Hayes’ latest single “Everybody's Got Somebody But Me,” featuring Jason Mraz, lands at our No. 27 spot this week.

Atlantic/WMN star Hunter Hayes (R) recently visited with WCYQ’s Mike Hammond (L) in Knoxville for his Let’s Be Crazy Tour kickoff. Hayes’ latest single “Everybody’s Got Somebody But Me,” featuring Jason Mraz, lands at our No. 27 spot this week.


After spending 18 weeks on MusicRow’s CountryBreakout chart, Taylor Swift’s “Red” claims the No. 1 spot with 3089 spins. Besides winning her sixth NSAI award, the singer recently opened the $4 million Taylor Swift Education Center at Nashville’s Country Music Hall of Fame and Museum. Meanwhile, Darius Rucker’s “Radio” rises two spots, moving to No. 2. Eric Paslay’s “Friday Night” climbs to No. 3, while Eli Young Band’s “Drunk Last Night” jumps to No. 4. Keith Urban and Miranda Lambert’s “We Were Us” breaks the Top 5, landing at No. 5. Rounding out the Top 10 this week are The Band Perry’s “Don’t Let Me Be Lonely” at No. 6, Jake Owen’s “Days of Gold” at No. 7, Joe Nichols’ “Sunny and 75” at No. 8, Cassadee Pope’s “Wasting All These Tears” at No. 9 and Brad Paisley’s “I Can’t Change The World” at No. 10.
Lady Antebellum’s “Compass” is the greatest gainer this week, sprinting to No. 37 with another 414 spins. Florida Georgia Line’s “Stay” jumps eight spots, moving to No. 22 with an extra 404 spins. Urban and Lambert’s “We Were Us” reaches No. 5 with an added 262 spins, while The Band Perry’s “Don’t Let Me Be Lonely” lands at No. 6 with an added 214 spins. Finally, Parmalee’s “Carolina” rises to No. 26 with an additional 185 spins.
MusicRow welcomes four worthy debuts this week, with Justin Moore’s “Lettin’ The Night Roll” debuting at No. 72, Kari & Billy’s “Play Me A Fiddle Song” at No. 78, Breelan Angel’s “Halfway To Wasted” at No. 79 and Skylar Elise’s “Gypsy Soul” at No. 80.
Frozen Playlists: KFAV, WEZJ, WBYZ, WAAG, KIAI, KTHK, WXXK, WDKN
Taylor Swift was honored by New York's NASH FM 94.7's America's Morning Show as their first in-studio guest. The superstar lands at No. 1 this week on the MusicRow Chart with her title track “Red.” Pictured (L-R): Chuck Wicks (AMS co-host), Terri Clark (AMS co-host), Swift, Blair Garner (AMS host.)

Taylor Swift was honored by New York’s NASH FM 94.7’s America’s Morning Show as their first in-studio guest. The superstar lands at No. 1 this week on the MusicRow Chart with her title track “Red.” Pictured (L-R): Chuck Wicks (AMS co-host), Terri Clark (AMS co-host), Swift, Blair Garner (AMS host.)


Upcoming Singles
October 21
Samantha Landrum/What If/Reviver Records
Ty Herndon/Lies I Told Myself/Flying Island
Jerrod Niemann/Drink To That All Night/Sea Gayle-Arista Nashville
Rachel Farley/Midnight Road/Red Bow
Weston Burt/Smile That Smile/HitShop
Kacey Musgraves/Follow Your Arrow/Mercury
Justin Moore/Lettin’ The Night Roll/Valory
October 28
Little River Band/You Dream, I’ll Drive/Frontiers
Mitch Goudy/Blow These Speakers Out/Third Floor Records
Blackjack Billy/Get Some/Bigger Picture
Sheryl Crow/Callin’ Me When I’m Lonely/Warner Bros.-WMN
November 4
Tyler Farr/Whiskey In My Water/Columbia Nashville
New On The Chart—Debuting This Week
Artist/song/label — chart pos.
Justin Moore/Lettin’ The Night Roll/Valory Music – 72
Kari & Billy/Play Me A Fiddle Song/Kari & Billy – 78
Breelan Angel/Halfway To Wasted/Momentum/MisBhavin’ Records – 79
Skylar Elise/Gypsy Soul/Sugar Money Records – 80
Most Added
Artist/song/label — New Adds
Lady Antebellum/Compass/Capitol – 29
Justin Moore/Lettin’ The Night Roll/Valory Music – 13
Florida Georgia Line/Stay/Republic Nashville – 12
Rodney Atkins/Doin’ It Right/Curb – 10
Brett Eldredge/Beat Of The Music/Atlantic-Warner Bros. – 10
George Strait/I Got A Car/MCA – 9
Brothers Osborne/Let’s Go There/EMI Nashville – 8
Chris Weaver Band/Raise The Dead/American Roots Records – 8
Greatest Spin Increase
Artist/song/label — spin+
Lady Antebellum/Compass/Capitol – 414
Florida Georgia Line/Stay/Republic Nashville – 404
Keith Urban feat. Miranda Lambert/We Were Us/Capitol Nashville-Hit Red Records – 262
The Band Perry/Don’t Let Me Be Lonely/Republic Nashville – 214
Parmalee/Carolina/Stoney Creek Records – 185
On Deck—Soon To Be Charting
Artist/song/label — spins
Laura Bell Bundy/Two Step/Big Machine – 199
Will Hoge/Strong/Prospector-Crescendo – 193
Kacey Musgraves/Follow Your Arrow/Mercury Nashville – 186
Josh Pruno/Cut Offs/Lawrence Music Group – 185
Taylor Made/Somewhere Between/LG Records – 182
Arista Nashville’s The Henningsens recently visited with Nancy and Newman of WRBT’s morning show after performing at BOB FM’s concert to fight breast cancer in Harrisburg, PA. The family trio’s latest single “I Miss You” takes this week’s No 16 slot. Pictured (L-R): WRBT’s Nancy; Brian, Clara and Aaron Henningsen; WRBT’s Newman.

Arista Nashville’s The Henningsens recently visited with Nancy and Newman of WRBT’s morning show after performing at BOB FM’s concert to fight breast cancer in Harrisburg, PA. The family trio’s latest single “I Miss You” takes this week’s No 16 slot. Pictured (L-R): WRBT’s Nancy; Brian, Clara and Aaron Henningsen; WRBT’s Newman.


Kellie Pickler recently stopped by WFUS US 103.5 to promote her latest Black River single “Little Bit Gypsy” in anticipation of her Nov. 11 The Woman I Am album release date. Pictured (L-R): Mike Wilson (Black River); Pickler; Travis Daily (PD); Launa Phillips (MD); and Joe Carroll (Black River).

Kellie Pickler recently stopped by WFUS US 103.5 to promote her latest Black River single “Little Bit Gypsy” in anticipation of her Nov. 11 The Woman I Am album release date. Pictured (L-R): Mike Wilson (Black River); Pickler; Travis Daily (PD); Launa Phillips (MD); and Joe Carroll (Black River).

Women's Music Business Association Holds Pop-up Sale

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wmbaheaderThe Women’s Music Business Association will host a pop-up store fundraiser Friday, Oct. 18 from 11 a.m.-6 p.m. at ASCAP‘s Nashville headquarters. The Consignment Boutique Fundraiser will include clothing of all sizes and styles for men, women, and children, and jewelry, shoes, and other accessories priced affordably. The store is the second boutique fundraiser held this year to support the WMBA’s membership programs, and is sponsored by ASCAP and Global Songwriters Connection.
The WBMA helps foster opportunities and provides education and networking tools to help empower women in the music business. Shoppers will be able to support the cause and gnosh on doughnuts at the same time, as Doughworks, Nashville’s gourmet doughnut food truck, will be on site during the sale.