Lucy Hale
Today’s column pits veterans against youngsters. In the former column are such established talents as
Craig Bickhardt, Alabama and
Gene Watson. In the latter, we have
Rachele Lynae, Lucy Hale, and
Mickey & The Motorcars. So I’m giving two
Disc of the Day awards. The first goes to the enduringly great
Gene Watson. The second goes to today’s red-hot
Miranda Lambert & Carrie Underwood.
The
DisCovery Award goes to
Lucy Hale. TV stars have had a hit-or-miss history of translating their fan followings into country-singing success. Here’s hoping she’s in the “hit” column.
LUCY HALE/You Sound Good To Me
Writers: Ashley Gorley/Luke Laird/Hillary Lindsey; Producer: Mike Daly; Publishers: External Combustion/Out of the Taperoom/Songs of Southside Independent/Songs of Universal/Creative Nation/Twangin and Slangin/BMG Gold, ASCAP/BMI; DMG Nashville
-The
Pretty Little Liars TV star delivers the goods with this ultra-catchy toe tapper. The song is super well crafted, and her vocal is full of verve and confidence. Make room for her on your playlists.
JAY JOLLEY/High and Mighty
Writers: Sarah Majors/Phillip Lammons/Matt King; Producer: Chuck Alkazian; Publishers: Tazmaraz/KadaLaNa/Motochez/Brain Twang, BMI/ASCAP; Double J (CDX)
-I have liked this guy several times in the past. As before, he sings with passion and grit here. The production on this country rocker is a little messy sounding, but there’s definite propulsion.
GENE WATSON/Turn Out the Lights (The Party’s Over)
Writers: Hank Craig/Willie Nelson; Producer: Dirk Johnson; Publishers: Glad/Pappy Daily, BMI; Fourteen Carat
-Gene’s new
My Heroes Have Always Been Country CD dropped yesterday. On it, he revives songs associated with Lefty Frizzell, Dottie West, Merle Haggard, George Jones and the like. Mostly, they’re not overly familiar songs, which is cool. This Willie Nelson chestnut, for instance, sounds wonderfully fresh in the throat of this master stylist. Here’s my advice: Put this record on, put your feet up, close your eyes and let this awesome voice roll over you, bathing you in country-music greatness.
DAVID LOVING/Potato in Rio
Writers: David Loving; Producer: David Loving; Publisher: Tender Wolf, BMI; Tall Horse (track)
-He can just barely sing. Accompanying his weak, lung-less vocal attempt is a band that seems incapable of locking into a groove.
Lambert and Underwood debut “Somethin’ Bad.”
-Country’s two reigning divas team up on a Thelma-and-Louise stomper that will make you reach for a drink and turn up the jukebox. Attitude with pizzazz. Miranda’s entire
Platinum CD is a mini masterpiece. Buy it.
MICKEY & THE MOTORCARS
Writers: Mickey Braun/Willy Braun; Producer: Willy Braun with Mickey & The Motorcars; Publishers: none listed; MB
-This has a wide-open-spaces sonic quality that’s attractive. Mickey’s voice isn’t a powerhouse, but has a pleasing drawl. I would have mixed it up above the band more. The way it is now, the guitar playing and drumming are as prominent as the singing, so he sounds like he’s drowning.
WADE BOWEN & BRANDY CLARK/Love In The First Degree
Writers: none listed; Producer: none listed; Publishers: none listed; Lightning Rod
-This track from last fall’s
High Cotton tribute CD to Alabama has become a hit on the Texas charts, and I can hear why. The excellent song has been slowed to a pulsing throbber, and these two voices are perfectly matched. They alternate verses beautifully, and on the choruses Brandy sings lead while Wade provides flawless harmony. Fascinating listening.
Gene Watson
-The
High Cotton tribute CD is comprised of Americana artists.
Alabama & Friends is its mainstream-country tribute counterpart. Luke Bryan essays the same song as Brandy and Wade, demonstrating by contrast how pedestrian a Nashville approach can be. It’s speeded up slightly, but otherwise apes Alabama’s original arrangement faithfully. For a more creative outing, try Rascal Flatt’s version of “Old Flame.”
CRAIG BICKHARDT/It Opens
Writers: Craig Bickhardt; Producers: Glenn Barratt & Craig Bickhardt; Publishers: Stone Barn, ASCAP; Stone Barn (track)
-Country hit writer and former Schuyler-Knobloch-Bickhardt member (1988’s “Givers and Takers,” etc.) now makes simply produced, singer-songwriter solo CDs. This track from his latest,
The More I Wonder, illustrates how thoughtful and enriching his composing continues to be. Persevere through life, it says, and press on because often, “It don’t look like a door, but it opens.”
RACHELE LYNAE/Touch The Stars
Writers: Rachele Lynae/Danick Dupelle/Patricia Conroy; Producer: Jamie O’Neal; Publisher: none listed
-The latest from this ingenue is a rippling, upbeat celebration of young love. Her sunny vocal rides atop a punchy, percolating track. O’Neal’s production touch is just right for this bopping youngster.
Samples To Be Allowed in All Grammy Songwriting Categories
/by Jessica Nicholson“The Academy’s Board of Trustees continues to demonstrate its passionate commitment to keeping The Recording Academy a relevant and responsive organization in our dynamic music community,” said Neil Portnow, President/CEO of The Recording Academy. “This year’s changes to our Awards process are thoughtful, inclusive, and reflective of the current musical landscape, and we look forward to implementing them for the upcoming 57th Annual GRAMMY Awards.”
Samples To Be Allowed: The Recording Academy will now allow samples or interpolations of previously written songs in all songwriting categories, including Song of the Year, Best Country Song, Best Rock Song, Best R&B Song, Best Gospel Song, Best Contemporary Christian Music Song, Best American Roots Song, and Best Song Written For Visual Media. Previously, samples or interpolations were allowed in only the songwriting category of Best Rap Song, in recognition of the unique craft of writing rap songs.
American Roots Music: A new category, Best American Roots Performance, has been added in the American Roots Music Field. The new award will encompass all of the sub-genres of the Field (Americana, bluegrass, blues, folk, regional roots music), and recognizes singles/tracks only as well as solo artists/duos/groups/collaborations. This puts the Field in line with the Pop, Rock, Rap, R&B, Country, and Gospel/Contemporary Christian Music Fields, all of which have performance categories.
Dance/Electronica: The Dance/Electronica Field and album category has been changed to Dance/Electronic Music Field and Best Dance/Electronic Album.
Gospel/Contemporary Christian: The categories of the Gospel/Contemporary Christian Music Field have been restructured as follows.
Previous Category Structure
• Best Gospel/Contemporary Christian Music Performance
• Best Gospel Song
• Best Contemporary Christian Music Song
• Best Gospel Album
• Best Contemporary Christian Music Album
New Category Structure
• Best Gospel Performance/Song
• Best Contemporary Christian Music Performance/Song
• Best Gospel Album
• Best Contemporary Christian Music Album
• Best Roots Gospel Album
The same number of categories remains in the Field (five), and now both the artist(s) and songwriter(s) of new material will be honored in the Best Gospel Performance/Song and Best Contemporary Christian Music Performance/Song categories. Changes to the Field were made in the interest of clarifying the criteria, representing the current culture and creative DNA of the gospel and Contemporary Christian Music communities, and better reflecting the diversity and authenticity of today’s gospel music industry, including:
• Place the growing and increasingly popular rap and hip-hop music into the contemporary category where the industry and fans feel it belongs
• Provide a category for traditional Southern gospel and other “roots” gospel albums as both a protector of the heritage of this music and an acknowledgement of the growing interest and support of these genres
• Recognize the critical contribution of both songwriters and performers by combining songwriters and artists into the Best Gospel Performance/Song and Best Contemporary Christian Music Performance/Song categories
• Appropriately integrate artists, songwriters, albums and songs along creative and aesthetic lines.
Changes were also made to Classical, Instrumental and Alternative fields. For a full list of changes, visit grammy.com.
The nomination process for the 57th annual Grammy Awards will be open to active Recording Academy Members on the following dates. The first round opens July 1 and closes July 23, 2014. This round is for recordings released between October 1, 2013 and July 31, 2014. The final voting round opens Aug. 13 and closes Aug. 27, 2014. This round is for August and September 2014 releases. The awards eligibility period is for recordings commercially released from Oct. 1, 2013 through Sept. 30, 2014.
Additionally, The Recording Academy Nashville Chapter presents “Grammy Awards 101,” with Bill Freimuth (Sr. VP, Awards) on July 24, 2014 from 5 p.m. – 7 p.m. at Ben’s Studio, located at 30 Music Square West, Ste. 100. The meeting will discuss important upcoming dates and deadlines, an explanation of eligibility for submitted product, how to submit product for Grammy consideration, what’s new for the 57th annual Grammy Awards, and a step-by-step narrative of what each submission goes through once it has been submitted to the awards process. Non-members are welcome. For RSVP information, visit grammy365.com.
Weblinks: Spotify, ROK Mobile
/by Jessica NicholsonMajor labels reportedly now carry collective ownership share of roughly 20 percent of Spotify, and value equity more than upfront payment guarantees in exchange for the rights to their catalogs.
• • •
John Paul DeJoria
John Paul DeJoria, the billionaire entrepreneur best known for Paul Mitchell shampoo and Patron tequila, now aims to tackle the wireless phone business, according to Forbes.
ROK Mobile, which DeJoria co-founded with British entrepreneur Johnathan Kendrick, will offer unlimited talk, text and data, as well as free music streaming. The contract-free ROK Mobile will cost $49.99/month.
DeJoria has signed agreements with Warner Music, Sony and Universal, which will allow users access to more than 20 million songs. DeJoria says, “Everything you can find on iTunes, we have.”
ROK Mobile will launch on T-Mobile on June 16 and on Sprint July 4. “The official launch is the Fourth of July because it’s freedom from cellphone contracts.”
NMPA Reports $2.2 Billion Publishing Industry In 2013
/by Sarah Skates“We are finally able to capture what the industry is worth and, more importantly, what our industry is losing,” said David Israelite, NMPA President and CEO today at the organization’s annual meeting in New York City, where the data was revealed. “The new digital marketplace is changing how songwriters and their music publishing partners can thrive. As the marketplace evolves, it is essential our industry no longer be hamstrung by outdated laws and government regulation.”
For the first time in history, NMPA can quantify the total industry revenue and value through information collected from NMPA’s recent modernization program. The program requires music publishing members to provide revenue data and captures market share information. The total industry revenue is based on numbers reported to NMPA by its members for 2013. The lost revenue calculations are based on projected fair market value of the industry in the absence of government regulations.
Where the money comes from:
(according to NMPA)
Performance License, 52 percent: Public performance royalties are the largest income stream for songwriters and music publishers. While the performance right is not explicitly regulated by law, the Department of Justice imposed consent decrees on the performance rights organizations ASCAP and BMI in 1941, which are still in effect today.
Mechanical License, 23 percent: Section 115 of the Copyright Act imposes a compulsory license that dates back to 1909. As a result of this law, songwriters and music publishers are denied the right to negotiate the value of their intellectual property in a free market. For every song downloaded on iTunes, songwriters receive only 9.1 cents – the current rate set by the Copyright Royalty Board.
Sync License, 20 percent: Traditionally this has included using music in movies, television shows, and commercials. Newer forms of this right include music videos produced by record labels as well as user-generated content such as videos on YouTube. For songwriters and music publishers, this is a free market right not regulated by law or consent decrees.
Other, 5 percent: Examples include sheet music and lyric websites.
Music Drives Honda's New Marketing Campaign
/by Jessica Nicholson“Breaking through the clutter and reaching younger buyers through traditional advertising is proving more and more difficult in this always-on, digital generation,” said Tom Peyton, assistant vice president of Advertising and Marketing for American Honda Motor Co., Inc. “Honda is making an even bigger investment in music than ever before. To bring this type of experience to music lovers we had to assemble a program from scratch bringing together both live and online elements that can only be found through Honda Stage.”
Honda Stage will offer music fans access to custom online music programming and performances via a new YouTube channel.
Additionally, the Honda Stage at the iHeartRadio Theater in Los Angeles will offer a concert series to be promoted via Clear Channel radio stations. Additional custom Honda Stage concert events, produced by Live Nation, will be held throughout the U.S.
Honda Stage at REVOLT Studios Hollywood will deliver regular live interviews and in-studio performances, which will be broadcast via REVOLT TV, the iOS and Android REVOLT apps, and the Honda Stage YouTube channel.
“This just pencils out as a smart program due to the massive content distribution platforms. With an expected reach of billions of music fans, the Honda Stage program will reach potential customers far beyond traditional TV advertising,” said Peyton.
Initial artists included in the campaign are pop act American Authors, as well as alt-rockers GroupLove, and Portugal.
Richard Lynch – She's Got Me Drinking Again
/by contributorHe credits much of that philosophy to the work ethic and morals that were instilled in him by his parents. “I grew up on a 110 acre farm. We always had plenty of livestock, horses, and cattle – plenty of chores and things to do. We didn’t have a whole lot of money growing up, but we never went hungry or had any wants. I know what it’s like to go through hard times, but by the same token, I wouldn’t trade the way I was raised for nothing. It made me decide and realize that in life, you get what you put into it.”
Lynch has definitely reaped what he has sown, from a career standpoint. The traditional-based singer has made many fans across the nation – at one point, he was playing over 300 shows a year – and has won the 2014 Male Country Vocalist of the Year from the CMG Global Radio Network, and has received several nominations from Nashville Universe, including Entertainer of the Year.
The singer will soon be releasing a brand new album, A Better Place, which showcases his warm and inviting musical style. Produced by acclaimed singer-songwriter Billy Yates (“Choices,” “I Don’t Need Your Rockin’ Chair”), the set definitely accentuates the more traditional side of the format. “That’s where my heart is,” he explains. “I’ve played southern rock and rock & roll – when you’re doing the bar scene, you have to play everything, But, my heart is with artists like Mel Street, Conway Twitty, and George Jones. My dad was always playing music in the Dayton / Cincinnati area long before I was born. I grew up in that environment, and have loved traditional country music ever since. I share my dad’s passion. That’s all I am.” And, with tour dates being requested from Texas to West Virginia to Wisconsin, Richard Lynch is proving there’s a still a market for real country music.
Richard Lynch also feels good about his music – and he believes fans are going to fall in love with the music on A Better Place. With a wide variety of moods and sounds, ranging from the set’s first single, “She Got Me Drinkin’ Again,” a duet with Yates to the tear-jerking title cut, Lynch says he is right where he wants to be. “When I hear good traditional country music, it gives me goose bumps. when it comes from the heart, and you feel it, that’s where I want to be.”
Industry Ink (6/11/14)
/by Jessica NicholsonWhile celebrating four back-to-back No. 1s last week, Capitol’s Luke Bryan was surprised by UMG Nashville Chairman & CEO Mike Dungan with the news that his Crash My Party project is now RIAA-certified Double Platinum.
Luke Bryan and UMG Nashville Chairman & CEO Mike Dungan. Photo: Rick Diamond
• • •
Blue Man Group
Nashville-based Bluewater Music has signed Blue Man Group to an administration agreement covering the world, excluding the United States.
Blue Man Group produces theatrical shows and concerts that feature percussion-heavy music, as well as comedy and a multimedia stage presentation. Blue Man Group has toured extensively throughout North America, Europe, and Japan.
• • •
Kelly Keagy and museum founder, Joe Chambers. Photo: Jay McDowell
Night Ranger lead vocalist and drummer Kelly Keagy has been selected as the inaugural ambassador for the Musicians Hall of Fame and Museum. The new program is designed to engage national and international concert fans with the museum’s work.
“Kelly is the perfect person to be the first ambassador for our work at the museum. We strive to honor the unsung heroes of American recorded music; those who contributed so much to the music that became the soundtrack of our lives,” said Joe Chambers, Founder of the Musicians Hall of Fame and Museum. “We are looking forward to working with Kelly, as well as other touring musicians who have dedicated their lives to their passion for music.”
CRS Names Director of Brand Marketing & Strategic Partnerships
/by Troy_StephensonHolly Lane
Country Radio Seminar officials have announced the appointment of Holly Lane as Director of Brand Marketing and Strategic Partnerships, beginning June 16, 2014.
Bill Mayne, Executive Director of CRS said, “I am very excited to have Holly join our amazing team. She brings a wealth of energy, enthusiasm, and experience to her new position. It takes very special people to serve our mission and Holly is exactly that.”
Before joining CRS, Lane served as Sponsorship Manager for the Country Music Hall of Fame and Museum. Prior to that, she held positions with Cornerstone Communications and The Grand Ole Opry.
Lane can be reached at holly@countryradioseminar.com or 615-327-4487. Lane fills the position that was previously held by Michelle Kammerer.
Artist Pics (6/11/14)
/by Jessica NicholsonLee Brice celebrated his birthday yesterday (June 10) with his Curb and CMT Radio family. The two came together to throw Brice a surprise party.
Pictured (L-R): Curb Records VP Promotion Ryan Dokke, CMT Radio’s Cody Alan, Curb’s Annie Sandor, Curb’s Savannah Blank, Curb’s Samantha DePrez, Curb’s Mike Rogers.
• • •
Capitol recording artist Jon Pardi received a plaque celebrating his first RIAA Gold record for “Up All Night” on Sunday (June 8) before taking the stage at Riverfront Park for the final day of CMA Music Fest. Pardi’s “Up All Night,” written by Pardi, Bart Butler and Brett Beavers, was the first Top 10 earned by the rising Country star.
Pictured (L-R): Red Light Management’s Melanie Wetherbee, Jon Pardi, UMG Nashville SVP & COO Tom Becci
• • •
Florida Georgia Line surprised friend and musician Russell Dickerson during his CMA Music Festival performance at the Hard Rock Cafe on Saturday (June 7) by making an unannounced appearance during his show. FGL’s Brian Kelley and Tyler Hubbard co-wrote “That’s My Girl,” which Dickerson featured as the last song in his set.
Florida Georgia Line and Russell Dickerson. Photo: Tyler Seymour
• • •
Ricky Skaggs performs with the Marshall Tucker Band. Photo: Thomas Newton
During the Marshall Tucker Band‘s recent hour-long set at the Riverfront stage during Nashville’s CMA Music Festival, fans got an extra treat when the Southern rock group introduced special guest Ricky Skaggs.
Skaggs joined the group on “Fire On The Mountain” and “Can’t You See,” among other Marshall Tucker Band classics.
DISClaimer: Veterans Vs. Youngsters
/by Robert K OermannLucy Hale
Today’s column pits veterans against youngsters. In the former column are such established talents as Craig Bickhardt, Alabama and Gene Watson. In the latter, we have Rachele Lynae, Lucy Hale, and Mickey & The Motorcars. So I’m giving two Disc of the Day awards. The first goes to the enduringly great Gene Watson. The second goes to today’s red-hot Miranda Lambert & Carrie Underwood.
The DisCovery Award goes to Lucy Hale. TV stars have had a hit-or-miss history of translating their fan followings into country-singing success. Here’s hoping she’s in the “hit” column.
LUCY HALE/You Sound Good To Me
Writers: Ashley Gorley/Luke Laird/Hillary Lindsey; Producer: Mike Daly; Publishers: External Combustion/Out of the Taperoom/Songs of Southside Independent/Songs of Universal/Creative Nation/Twangin and Slangin/BMG Gold, ASCAP/BMI; DMG Nashville
-The Pretty Little Liars TV star delivers the goods with this ultra-catchy toe tapper. The song is super well crafted, and her vocal is full of verve and confidence. Make room for her on your playlists.
JAY JOLLEY/High and Mighty
Writers: Sarah Majors/Phillip Lammons/Matt King; Producer: Chuck Alkazian; Publishers: Tazmaraz/KadaLaNa/Motochez/Brain Twang, BMI/ASCAP; Double J (CDX)
-I have liked this guy several times in the past. As before, he sings with passion and grit here. The production on this country rocker is a little messy sounding, but there’s definite propulsion.
GENE WATSON/Turn Out the Lights (The Party’s Over)
Writers: Hank Craig/Willie Nelson; Producer: Dirk Johnson; Publishers: Glad/Pappy Daily, BMI; Fourteen Carat
-Gene’s new My Heroes Have Always Been Country CD dropped yesterday. On it, he revives songs associated with Lefty Frizzell, Dottie West, Merle Haggard, George Jones and the like. Mostly, they’re not overly familiar songs, which is cool. This Willie Nelson chestnut, for instance, sounds wonderfully fresh in the throat of this master stylist. Here’s my advice: Put this record on, put your feet up, close your eyes and let this awesome voice roll over you, bathing you in country-music greatness.
DAVID LOVING/Potato in Rio
Writers: David Loving; Producer: David Loving; Publisher: Tender Wolf, BMI; Tall Horse (track)
-He can just barely sing. Accompanying his weak, lung-less vocal attempt is a band that seems incapable of locking into a groove.
Lambert and Underwood debut “Somethin’ Bad.”
MIRANDA LAMBERT & CARRIE UNDERWOOD/Somethin’ Bad
Writers: Chris DeStefano/Brett James/Priscilla Renea; Producers: Frank Liddell/Chuck Ainlay/Glenn Worf; Publishers: EMI April/Sugar Glider/EMI Blackwood/WB/Songs of Brett/External Combustion, Keep It Simple Stupid, ASCAP; RCA (track)
-Country’s two reigning divas team up on a Thelma-and-Louise stomper that will make you reach for a drink and turn up the jukebox. Attitude with pizzazz. Miranda’s entire Platinum CD is a mini masterpiece. Buy it.
MICKEY & THE MOTORCARS
Writers: Mickey Braun/Willy Braun; Producer: Willy Braun with Mickey & The Motorcars; Publishers: none listed; MB
-This has a wide-open-spaces sonic quality that’s attractive. Mickey’s voice isn’t a powerhouse, but has a pleasing drawl. I would have mixed it up above the band more. The way it is now, the guitar playing and drumming are as prominent as the singing, so he sounds like he’s drowning.
WADE BOWEN & BRANDY CLARK/Love In The First Degree
Writers: none listed; Producer: none listed; Publishers: none listed; Lightning Rod
-This track from last fall’s High Cotton tribute CD to Alabama has become a hit on the Texas charts, and I can hear why. The excellent song has been slowed to a pulsing throbber, and these two voices are perfectly matched. They alternate verses beautifully, and on the choruses Brandy sings lead while Wade provides flawless harmony. Fascinating listening.
Gene Watson
LUKE BRYAN/Love In The First Degree
Writers: Tim DuBois/Jim Hurt; Producer: Jeff Stevens; Publishers: none listed; Show Dog-Universal
-The High Cotton tribute CD is comprised of Americana artists. Alabama & Friends is its mainstream-country tribute counterpart. Luke Bryan essays the same song as Brandy and Wade, demonstrating by contrast how pedestrian a Nashville approach can be. It’s speeded up slightly, but otherwise apes Alabama’s original arrangement faithfully. For a more creative outing, try Rascal Flatt’s version of “Old Flame.”
CRAIG BICKHARDT/It Opens
Writers: Craig Bickhardt; Producers: Glenn Barratt & Craig Bickhardt; Publishers: Stone Barn, ASCAP; Stone Barn (track)
-Country hit writer and former Schuyler-Knobloch-Bickhardt member (1988’s “Givers and Takers,” etc.) now makes simply produced, singer-songwriter solo CDs. This track from his latest, The More I Wonder, illustrates how thoughtful and enriching his composing continues to be. Persevere through life, it says, and press on because often, “It don’t look like a door, but it opens.”
RACHELE LYNAE/Touch The Stars
Writers: Rachele Lynae/Danick Dupelle/Patricia Conroy; Producer: Jamie O’Neal; Publisher: none listed
-The latest from this ingenue is a rippling, upbeat celebration of young love. Her sunny vocal rides atop a punchy, percolating track. O’Neal’s production touch is just right for this bopping youngster.
Weekly Register: Platinum Perfect
/by Sarah SkatesThat’s a lyric from the title track to Miranda Lambert’s new album Platinum, which is irrefutably the top album in the country this week. Her fifth studio effort sold 180k (46% digital), to lead the Country album chart as well as the Top 200 overall, according to Soundscan.
This means Lambert scored one of the top selling Country debuts of the year, behind Brantley Gilbert’s Just As I Am which sold 211k units (48k this week), and Eric Church’s The Outsiders, which moved 288k its first week.
Performances on the CMT Awards gave a boost to track sales. The new version of “This Is How We Roll” from the show (FGL ft. Luke Bryan and Jason Derulo) sold 72k. The track (all versions combined) sold 130k TW for a RTD total of 1.450 million. Little Big Town’s latest “Day Drinkin'” debuted with 48k, and Eric Church’s “That’s Damn Rock & Roll” entered with 11.8k.
Also experiencing an uptick in downloads were Jake Owen’s “Beachin'” (72k), Dierks Bentley’s “Drunk On a Plane” (63k) and Lady A’s “Bartender” (62.5k). Luke Bryan’s “Play It Again” held steady with 77k.
Lisa Marie and Priscilla Presley check out Lambert’s new song “Priscilla,” written by Nicolle Galyon, Jimmy Robbins and Natalie Hemby.