Country Perspective’s Top 10 Albums of 2020

Country Perspective will be posting multiple best of albums lists this year to recognize the staggering amount of high quality album releases in 2020. It will ultimately conclude with Country Perspective’s Top 10 Albums of 2020, which will reflect all genres and crown this blog’s top award, Album of the Year.

Today the list-mania concludes with Country Perspective’s Top 10 Albums of 2020. When determining the top ten albums of the year, a number of typical factors you expect are evaluated for this. But in addition I also factor in aspects such as entertainment, long-term replayability and just general enjoyment. In fact I would say these factors are the most important over your other stereotypical factors. Most importantly things such as cultural impact or how it fits within the scope of 2020 do no play a factor in this. Lighter, “fun” albums are given equal artistic merit to your typical album of the year-type records. At the end of the day, this is just what I consider great music and the very best of what this year had to offer across all genres. So without further ado, here are Country Perspective’s Top 10 Albums of 2020:

10. Sturgill Simpson — Cuttin’ Grass – Volume 1

Now I expected this album to be good. Sturgill Simpson’s love and appreciation for bluegrass has always shined through. But man I did not expect this album to be this good. The melody on this album is so damn infectious, making old songs sound completely new and giving real vibrancy to his previously unrecorded Sunday Valley songs. Simpson is clearly in his element on Cuttin’ Grass – Vol. 1. He takes to bluegrass like a duck takes to water. Who knows what direction he will go on his fifth and supposedly final studio album and who knows when he’ll release Volume 2 of Cuttin’ Grass. In a tumultuous year, the best thing to do is sit back and enjoy this wonderful surprise from Simpson.

9. Chris Stapleton — Starting Over

Starting Over is what it says it is: it’s Chris Stapleton hitting a reset button on expectations. It’s him indulging in all of his influences and putting them all on display. It’s a reminder of who he is as an artist, even though this may not sound much different than what he’s released before. But again the expectations have to be kept in check because an artist’s image is more important than many listeners and reviewers realize. I think Stapleton realized he needed to reiterate who he sees himself as with this album. It’s him quietly and not so quietly voicing his displeasure at the world around him too. But really Stapleton does what he’s always focused on doing with his music on this album: making good music with no expectations. And that’s the best kind of music.

8. Kylie Minogue — DISCO

This album is full of soaring production that lives up to it’s album name while also giving it a fresh, modern feel. The songwriting focuses around love, excitement and just pure joy. To me it’s one of those albums that if you love pop and disco music, it’s impossible to come away not smiling. Minogue meant for this album to be enjoyable escapism and DISCO is absolutely phenomenal in this regard.

7. Benny The Butcher — Burden of Proof

Benny The Butcher gives you everything you want out of an excellent album and then some with Burden of Proof. The lyricism, production, the features and the themes are all flawless. He delivered so many great albums before this, but with this record he reaches a whole new level of greatness in my mind. It’s the realism and genuineness that shines through in Benny The Butcher’s work that’s quickly making him one of the best in the game, especially when so many in hip hop chase and promote the fake image he speaks out against throughout this album. Of course this isn’t an issue just in hip hop, as every genre struggles with the balance of reality and fantasy, as well as roots and tradition versus new school thoughts and ideas. If one becomes more lopsided, things go haywire. And Benny does such a good job of keeping this in mind with his music. As he says in the final track on the album, he’s ready to be a legend now. This album more than proves this high claim.

6. Tennis — Swimmer

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

5. Ashley McBryde — Never Will

Ashley McBryde delivers exactly what I had hoped for and then beyond with Never Will. She leans heavily into her natural heartland rock sound and combines it with traditional country to create an album I will remember for a long time. The songwriting is brilliant and varied, running the gauntlet of emotions and most importantly I think Ashley McBryde delivers a flawless presentation of flawed characters. They’re never framed as likable, but real and as they are, which can be hard to get behind as a listener. But just like Sturgill Simpson’s SOUND & FURY, it can be understandable to not want to listen to music about such real and flawed characters, songs where there are no heroes even. For me though this is the music that is truly intriguing and has a lasting impact.

4. Tyler Childers — Long Violent History

The best surprises are not what you want, but what you need. Tyler Childers’ surprise album Long Violent History is a record we needed. Who would have predicted an Appalachian country album filled mostly with old fiddle standards would end up being one of the best albums of 2020? But that’s exactly what Tyler Childers delivers with Long Violent History. It’s eight great instrumental songs with beautiful and thoughtful melody packaged around one of the most powerful, well-written songs of this generation. Tyler Childers writes himself into the history books with this album.

3. Carly Rae Jepsen — Dedicated Side B

Dedicated Side B is yet another pop masterpiece from Carly Rae Jepsen. I can’t believe how she just continues to blow me away with fantastic project after fantastic project. Once again she’s showing her “B material” is better than many artists’ A material. Every song on this album is enjoyable and shows why she is one of the best pop artists in music today. Jepsen won Country Perspective’s 2019 Album of the Year with Dedicated and she’s putting herself in the unprecedented position to win it again in 2020 to make it back-to-back. It’s simply incredible.

2. Brett Eldredge — Sunday Drive

There could not be more of a stark contrast between Sunday Drive and Brett Eldredge’s previous album. It’s simply night and day. Every moment on this album is absolutely enjoyable. The lyrics and production could not shine and compliment each other anymore. The reflecting theme of finding optimism and wisdom in times of trouble and uncertainty is brilliantly inspiring. Brett Eldredge has never sounded more energized and is at his absolute best on this record. There’s no other way to put it: Sunday Drive is a phenomenal album and it’s the best country album of 2020.

And Country Perspective’s 2020 Album of the Year…

1. The Weeknd — After Hours

After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. There wasn’t a more complete album released in 2020 than this one. Every aspect of this album is in sync with each other in driving the overarching story while each song excels on a microlevel too. Every time I listen it’s truly enjoyable to re-experience the story being told and the excellent production that permeates throughout.


Thank you for reading Country Perspective in 2020! I hope you all have a safe and happy holidays!

Country Perspective’s Top 10 Country Albums of 2020

Ah, we’ve reached list season! The time of year when everybody releases their top music lists of the year and we all argue about why somebody’s personal list didn’t reflect our own personal taste. At the end of the day, remember it’s not worth getting angry about this stuff. The most important things these lists do is help us find an artist or release that fell through the cracks or you didn’t hear about. And they’re a nice way to recognize artists, especially smaller ones who need the coverage to help them reach more people. So be sure to just enjoy these lists and not feel insecure when your favorite artist doesn’t get the “proper” placement. It’s all opinions at the end of the day.

Country Perspective will be posting multiple best of albums lists this year to recognize the staggering amount of high quality album releases in 2020. It will ultimately conclude with Country Perspective’s Top 10 Albums of 2020, which will reflect all genres and crown this blog’s top award, Album of the Year.

Today I take a look at the top country albums of 2020. The genre had a fantastic year and it was actually quite difficult to round out the list. I could have posted a longer list, but I think it’s best to keep these short since there are so many lists and it cheapens the recognition if you make it longer. Both the mainstream and indie scenes delivered great albums this year and there was also a variety of sounds amongst the top country albums, which is awesome to see. Personally I would say the word surprise would best describe my top country albums list, as most of these albums surprised me in some way. If you had told me at the beginning of the year that this is what my list would like, I wouldn’t believe you, especially the top album. But I love it when music surprises me, so it was quite fun to put together this list and reflect back on these albums. So without further ado, here are Country Perspective’s Top 10 Country Albums of 2020:

10. Brandy Clark — Your Life is a Record

Despite a few hiccups, Brandy Clark takes a big step up from her last album with Your Life is a Record. I think the production is the biggest improvement, as it flows together really well from start to finish. I really enjoy the incorporation of the flutes in this album, as it’s something not really utilized as much in country music. The songwriting stumbles in a few spots, but for the most part is pretty good and at times great. There’s a surprisingly nice mix of emotions on an album centered around a breakup too. Most importantly, Clark rewards you for listening to the whole album, giving you the emotional journey with the fittingly positive, yet realistic destination.

9. Texas Exit — Black Water

Texas Exit delivers an absolute blast of a debut album in Black Water. While they definitely let their cited influences above shine through, personally the two bands I thought of when listening to this album are Molly Hatchet and Blackfoot, as the sound feels like it fits right in with those bands. While it’s understandable how a band wearing it’s influences on it’s sleeves can be a bit annoying, I find that Texas Exit does this in a way that feels like a good combination of homage and putting their own flair on it. While it’s easy to get lost in the fun guitar play, it’s the lyrics of this album that are it’s secret weapon and what makes this band stand out amongst other groups who attempt these popular sounds.

8. Brothers Osborne — Skeletons 

Skeletons is easily the best album delivered by the Brothers Osborne so far. This duo at their best in my mind is the modern day version of Brooks & Dunn. What both of these duos excel at is delivering accessible, yet “smarter” versions of fun country music that doesn’t delve into mindless drivel like bro country nor does it feel forced like pop country. Then sprinkle in a few serious songs to give you a nice breather in between all of the partying and this is the perfect formula for the duo to follow. This is a really enjoyable album.

7. Mike and the Moonpies — Touch of You: The Lost Songs of Gary Stewart

Mike and the Moonpies continue to prove why many are quickly considering them one of the best acts in country music right now, as they’ve now released two great, back-to-back surprise releases. Not to mention the respect they pay towards Stewart is classy and a true homage to the late country star, as they do a great job bringing his old, unreleased songs to life. If you’re a country music fan and not familiar with Gary Stewart, I hope this urges you to dig into his music because it’s a real joy. And of course you should also familiarize yourself with Mike and the Moonpies, as this top ten country release in 2020 follows Country Perspective’s #1 country album of 2019.

6. John Anderson — Years

There have been many near death/mortality albums done throughout country music history, calling to my mind Johnny Cash’s famous American Recordings series, Wille Nelson’s hauntingly great Spirit, and the late great John Prine’s final album The Tree of Forgiveness grinning in the face of mortality. John Anderson’s Years is without a doubt worthy of standing right next to these pieces of work. The songwriting on this is incredibly strong, with Anderson impressively having a hand in writing every track. Auerbach and Ferguson also deliver production that shines for the most part and continues their streak of quality projects. Years shows John Anderson is not only still hanging on, but he’s thriving and smiling.

5. Daniel Donato — A Young Man’s Country

Daniel Donato delivers quite an impressive debut with A Young Man’s Country. It’s not too often an artist of his caliber on guitar comes along, as his style and skill reminds me of a cross between Marty Stuart and Charlie Starr of Blackberry Smoke. It evokes a lot of emotion and color, giving Donato’s music a cinematic-like quality that draws the listener in. Needless to say I look forward to hearing more from Donato.

4. Chris Stapleton — Starting Over

Starting Over is what it says it is: it’s Chris Stapleton hitting a reset button on expectations. It’s him indulging in all of his influences and putting them all on display. It’s a reminder of who he is as an artist, even though this may not sound much different than what he’s released before. But again the expectations have to be kept in check because an artist’s image is more important than many listeners and reviewers realize. I think Stapleton realized he needed to reiterate who he sees himself as with this album. It’s him quietly and not so quietly voicing his displeasure at the world around him too. But really Stapleton does what he’s always focused on doing with his music on this album: making good music with no expectations. And that’s the best kind of music.

3. Ashley McBryde — Never Will

Ashley McBryde delivers exactly what I had hoped for and then beyond with Never Will. She leans heavily into her natural heartland rock sound and combines it with traditional country to create an album I will remember for a long time. The songwriting is brilliant and varied, running the gauntlet of emotions and most importantly I think Ashley McBryde delivers a flawless presentation of flawed characters. They’re never framed as likable, but real and as they are, which can be hard to get behind as a listener. But just like Sturgill Simpson’s SOUND & FURY, it can be understandable to not want to listen to music about such real and flawed characters, songs where there are no heroes even. For me though this is the music that is truly intriguing and has a lasting impact.

2. Tyler Childers — Long Violent History

The best surprises are not what you want, but what you need. Tyler Childers’ surprise album Long Violent History is a record we needed. Who would have predicted an Appalachian country album filled mostly with old fiddle standards would end up being one of the best albums of 2020? But that’s exactly what Tyler Childers delivers with Long Violent History. It’s eight great instrumental songs with beautiful and thoughtful melody packaged around one of the most powerful, well-written songs of this generation. Tyler Childers writes himself into the history books with this album.

1. Brett Eldredge — Sunday Drive

“What in the world are we all doin’ here?”

They say first impressions are important, whether it’s the first time you meet somebody or the first time you’re listening to a piece of music. Right away Brett Eldredge leaves an impactful first impression with his new album Sunday Drive. It’s such an important question that can resonate with anyone listening. Right away Eldredge reaches out to the listener and makes a connection, inviting them into the music.

There could not be more of a stark contrast between Sunday Drive and Brett Eldredge’s previous album. It’s simply night and day. Every moment on this album is absolutely enjoyable. The lyrics and production could not shine and compliment each other anymore. The reflecting theme of finding optimism and wisdom in times of trouble and uncertainty is brilliantly inspiring. Brett Eldredge has never sounded more energized and is at his absolute best on this record. There’s no other way to put it: Sunday Drive is a phenomenal album and it’s the best country album of 2020.

Album Review — Brett Eldredge’s ‘Sunday Drive’

“What in the world are we all doin’ here?”

They say first impressions are important, whether it’s the first time you meet somebody or the first time you’re listening to a piece of music. Right away Brett Eldredge leaves an impactful first impression with his new album Sunday Drive. It’s such an important question that can resonate with anyone listening. Right away Eldredge reaches out to the listener and makes a connection, inviting them into the music.

The question also indicates the start of a clear turning point in the career of Brett Eldredge. Leading up this album, Eldredge made clear that this material is much different than his previous music. He enlisted Daniel Tashian and Ian Fitchuk as producers, the same duo who produced the genre-boundary pushing Golden Hour from Kacey Musgraves. It showed all the makings of an artist who is ready to fulfill their full potential. But yet the cynic in me wanted to hear for myself to truly be convinced. Once Eldredge uttered this opening line, I realized I was listening to an artist that is truly ready to deliver a memorable album. And then he continues to deliver until the last note is played on “Paris Illinois.”

What’s truly remarkable about this album is how it manages to capture such a broad range of emotions in a painstakingly honest and human way. The lyrics keep it simple and certainly won’t be mistaken for the complexity of Jason Isbell or John Moreland. Yet they convey the same emotional depth because they come from a place of true introspection and personal experience. When you pair this with production that is colorful, vibrant and makes the lyrics come to life, it feels more almost like a movie experience, as I can picture each of these songs in my head as I listen. The only other album released in 2020 I can say this about is The Weeknd’s After Hours.

While every song on this album is great, the two clear standouts are “Sunday Drive” and “Then You Do.” The former grapples with growth and mortality, as Eldredge reflects on the life lessons bestowed upon him by his parents in such simple moments and how their love is still strong as they reach older age. It’s a beautifully sad and happy song, showing the never-ending cycle of life and death. The latter song is a perfect description of the roller coaster of finding relationships and love. It’s surprisingly unexpected, both the joyful discovery of the beginning and painful crashing of the end of it. Just when you think you have it all figured out, then it all changes and you have to begin anew. In a world full of head-in-the-clouds love songs that only highlight the highs and heartbreak songs that only show the lows, this song manages to brilliantly capture the in-between that most people are experiencing.

While there is a sad undertone in several moments throughout this album, there are also many uplifting, happy moments. “The One You Need,” “Crowd My Mind” and “Fall For Me” are great love songs that put Eldredge’s soulful side on display. This is a side I’ve been wanting to see Eldredge show more, as his voice has the passion and warmth suited for soulful love songs. He may not have the raw power that blows you away like Chris Stapleton, but his charisma and polished delivery make up for this.

As I alluded to in the beginning of this review, “Where The Heart Is” is a fantastic choice for an opening song, as it sets the tone well and lets you know right away what this album is in terms of message and sound. “Magnolia” and “Gabrielle” are the more pop country songs of the album. The first is a fun look back at falling in love for the first time and I enjoy the descriptive nature of the track, as Eldredge describes the moment in time with lots of little details that help paint the picture. When “Gabrielle” was first released, I found it to be repetitive. But upon more listens within the context of the album, it’s grown a lot on me and fits perfectly with the theme. This song examines lost love and the lingering questions from what might have been between the once couple. I love the mature approach this song takes, not showing malice or ill will, instead taking the high road and realizing the lessons learned in order to move forward.

“Good Day” immediately made me think of Don Williams’ “Lord, I Hope this Day is Good.” Both songs see the narrator striving and looking for hope and optimism, even if the world around them isn’t looking so good. This is certainly the type of upbeat song we could use in this pandemic world in which we currently live. Eldredge’s lively deliver certainly brings a smile to my face. His bright delivery shines again on “When I Die,” another song with a great message about living life to the fullest and not getting caught up in the problems of yesterday.

There are many excellent production moments on this album, but I particularly enjoy the horns that sneak in on “Fix a Heart” and “Paris Illinois.” The catchiness of the chorus on “Fix a Heart” immediately hooks me and the redemption arc angle of the lyrics feel heartfelt instead of the mawkish selfishness that seems to permeate so many boyfriend country songs that attempt this same angle. The subdued and reserved “Paris Illinois” is the nice sentimental cap off to this album, closing with some comfortably soft horns that make you reflect on the music you just heard.

This is easily the most surprised I’ve felt listening to an album this year. There could not be more of a stark contrast between Sunday Drive and Brett Eldredge’s previous album. It’s simply night and day. Every moment on this album is absolutely enjoyable. The lyrics and production could not shine and compliment each other anymore. Brett Eldredge has never sounded more energized and is at his absolute best on this record. There’s no other way to put it: Sunday Drive is a phenomenal album. 

Grade: 10/10

Review – Brett Eldredge’s “Somethin’ I’m Good At”

brett-eldredge-somethin-im-good-at

Sleepy. Boring. Sappy. Three words that sum up some of Brett Eldredge’s most recent singles. While Eldredge was one of the many who indulged in and gained fame from chasing bro country, you certainly wouldn’t put him amongst the group’s worst offenders. Not only does he have a solid voice, he’s really played it safe most of his career. You look at his singles from his sophomore album Illinois and they’re closer to Chris Young than they are to say Luke Bryan. So I would say the biggest complaint about Eldredge up to this point has been really not standing out and producing boring, forgettable songs. This is almost worse than bro country because when you fail to stand out, you tend to get lost in the shuffle really quick. Eldredge seemed to wisely pick up on this too, as the promotion for his new single “Somethin’ I’m Good At” promised more “tempo” and a song that’s more reflective of his zany personality he displays on social media. And after listening to this song these claims are very much true. It’s a stark contrast to previous singles, as this song is bubbly, upbeat and fun from the start. It’s quite refreshing. The song is about a guy not being a good at a lot and really just being an overall klutz, based off of Eldredge’s self-admitted personality. Despite all of these things he can’t do though, he is good at making his love smile. Sure this is a little cheesy on paper, but the song tactfully has a playful and light air about it. It’s just a fun anthem for the dorky, lovable loser. For some this might be too cute and I can see the song wearing thin after a lot of listens. But for me this song hits just right. I enjoy the message it sends and it’s the kind of laid back, loose song we need in a cynical world. Eldredge finally releases a song that suits him and lets his personality shine. There’s a great sense genuineness that shines through on “Somethin’ I’m Good At” that makes it really easy to enjoy.

Grade: 7/10

 

Recommend? – Yes

Written by Brett Eldredge and Tom Douglas

The Current Pulse of Mainstream Country Radio [January 23]

Creepy Blake
You get another week of creepy eyes staring back at you. Hey don’t blame me, blame country radio.

Each week we take a look the Billboard Country Airplay chart and grade the top 30 songs. The grading format I use each week is every song will receive one of the following scores: +5, +4, +3, +2, +1, 0, -1, -2, -3, -4, -5. These will then be tallied up for an overall score, or pulse of the current top thirty country songs, with the highest possible score being a +150 and the lowest possible score being a -150. How do I determine the score for the song? The review grade it received on the site or myself will determine this. If it hasn’t been reviewed yet, then I will make the call. The grade it has received or I would give it determines its Pulse score. The grading key: 10 [+5], 9 [+4], 8 [+3], 7 [+2], 6 [+1], 5 [0], 4 [-1], 3 [-2], 2 [-3], 1 [-4], 0 [-5].

The goal of this exercise is to evaluate the current state of mainstream country music and determine if it’s improving or getting worse. Let’s take a look at this week’s top thirty…

  1. Blake Shelton – “A Guy With A Girl” -1 
  2. Thomas Rhett – “Star of the Show” -3 (Up 2)
  3. Carrie Underwood – “Dirty Laundry” (Down 1)
  4. Dustin Lynch – “Seein’ Red” -5 (Up 1) 
  5. Keith Urban – “Blue Ain’t Your Color” -4 (Down 2)
  6. Little Big Town – “Better Man” +2 (Up 2)
  7. Chris Young (feat. Vince Gill) – “Sober Saturday Night” +1 (Up 3) 
  8. Granger Dibbles Jr. – “If The Boots Fits” -4 (Up 1)
  9. Brad Paisley – “Today” +2 (Up 2)
  10. Michael Ray – “Douchey Pickup Song” -5 (Up 4) [Worst Song]
  11. Eric Church (feat. Rhiannon Giddens) – “Kill A Word” +4 (Up 1) [Best Song] 
  12. Jon Pardi – “Dirt on My Boots” +1 (Up 3)
  13. Luke Bryan – “Fast” -1 (Up 3)
  14. Maren Morris – “80s Mercedes” -1 (Down 1)
  15. Lauren Alaina – “Road Less Traveled” -2 (Up 2)
  16. Brantley Gilbert – “The Weekend” -5 (Up 3)
  17. Chris Stapleton – “Parachute” +3 (Up 1)
  18. Jason Aldean – “Any Ol’ Barstool” (Up 4)
  19. Kelsea Ballerini – “Yeah Boy” -5 (Up 2)
  20. Garth Brooks – “Baby, Let’s Lay Down and Dance”
  21. High Valley – “Make You Mine” -2 (Up 2)
  22. Josh Turner – “Hometown Girl” (Up 2)
  23. Kenny Chesney – “Bar at the End of the World” -3 (Up 4)
  24. Chris Janson – “Holdin’ Her” +4 (Up 2)
  25. Trent Harmon – “There’s A Girl” +1 
  26. Dierks Bentley – “Black” -2 (Up 2)
  27. Lady Antebellum – “You Look Good” -4 (New to Top 30)
  28. Craig Campbell – “Outskirts of Heaven” +3 (Up 1)
  29. Darius Rucker – “If I Told You” (Up 1)
  30. Miranda Lambert – “We Should Be Friends” +2 (New to Top 30)

The Current Pulse of Mainstream Country Radio: -28

The pulse drops three spots this week.

Songs That Dropped Out of the Top 30 This Week:

  • Brett Eldredge – “Wanna Be That Song” 0
  • Florida Georgia Line (feat. Tim McGraw) – “May We All” +1

Songs That Entered The Top 30 This Week:

  • Lady Antebellum – “You Look Good”
  • Miranda Lambert – “We Should Be Friends”
    • This is the second single from Lambert’s great album The Weight of These Wings. It’s certainly not as good as previous single “Vice” and this is probably one of the lesser songs of the album. That being said it’s solid. It’s a clever song about Lambert identifying who she has a friend in, from the frankly honest to the heartbroken. She keeps the song simple and it works. I’m not sure if country radio will get behind it, but it should at least reach top 20/top 15 I think. It should also be pointed out Lambert wrote this one completely herself. While this is certainly not a highlight of her most recent album, one of Lambert’s lesser songs still beats most of the songs at country radio right now. 7/10

Biggest Gainers This Week:

  • Kenny Chesney – “Bar at the End of the World” – Up 4 from #27 to #23
  • Jason Aldean – “Any Ol’ Barstool” – Up 4 from #22 to #18
  • Chris Young (feat. Vince Gill) – “Sober Saturday Night” – Up 3 from #10 to #7

Biggest Losers This Week:

  • Brett Eldredge – “Wanna Be That Song” – Out of the Top 30 & Done
  • Florida Georgia Line (feat. Tim McGraw) – Out of the Top 30 & Done
  • Keith Urban – “Blue Ain’t Your Color” – Down 2 from #3 to #5

Songs I See Going Recurrent & Leaving The Top 30 Soon:

  • Maren Morris – “80s Mercedes” (Another bad week and yet again keeps the bullet)
  • Chris Stapleton – “Parachute” (Also had another bad week and is still here)
  • High Valley – “Make You Mine” (This one continues to stay alive too)
  • Chris Janson – “Holdin’ Her” (Insert what I said above)
  • Trent Harmon – “There’s A Girl” – (Bad sales and a really bad week at radio. Also lost bullet. Needs a lot of help to prevent going recurrent)

On The Hot Seat:

  • Garth Brooks – “Baby, Let’s Lay Down and Dance” (Call me crazy, but I have the strangest feeling this will somehow luck it’s way into the top ten. It’s odds of making top 15 are pretty good. If it does, I’m gonna laugh so damn hard that Garth has a top ten at country radio in 2017.)
  • Craig Campbell – “Outskirts of Heaven”

Next Four Songs I See Entering Top 30:

  • Dan + Shay – “How Not To”
  • Runaway June – “Lipstick”
  • Rascal Flatts – “Yours if You Want It”
  • RaeLynn – “Love Triangle”

Note: Well on the bright side, there’s five solo women artists in the top 30 and I can’t remember the last time this has happened. On the obvious negative side of course, the pulse just continues to plunge. This week you can blame Lady Antebellum and their horrible new song. Also labels and their incessant gerrymandering to keep 40 week plus old songs around.

 

As always be sure to weigh-in with your thoughts in the comments below.