September 25, 2017, Issue 567

Holly Gleason’s Book Of Love Writing about music can quickly become heavy on business, light on music, with spins, stats and streams overshadowing the reason most people got into this crazy world in the first place – how the music made us feel. Journalist/edu-cator/publicist/songwriter (Kenny Chesney’s “Better As A Memory”) Holly Gleason’s new book Woman Walk The Line: How The Women In Country Music Changed Our Lives is a col-lection of essays celebrating influential country females, written by influential female songwrit-ers, publicists, musicians, artists and journal-ists. Each essay answered the sole question Gleason posed to each contributor: “Who’s the woman who grabbed you by the ears and pulled you to her – and the more you listened, the more you figured out who you are?”

Holly Gleason

© 2 0 1 7 Co u n t r y A i rc h e c k ™ — A l l r i g ht s re s e r ve d. S i gn u p f re e at w w w. co u nt r ya i rc h e c k . co m . S e n d n e ws to n e ws @ co u nt r ya i rc h e c k . co m

Fire Away: Mercury’s Chris Stapleton backstage at the iHeartRadio Music Festival in Las Vegas over the weekend. Pictured (l-r) are Morgane Stapleton, iHeart’s Rod Phillips, John Sykes and Tom Poleman, and Stapleton.

Preparation Yes! Show prep, content curation and talk breaks go by many names, but whatever it’s called, the stuff between the records is the glue connecting fans to the music and sets radio apart from streaming and playlists. As communications and media changed at a blistering pace over the last decade or more, so has show prep. Country Aircheck reached out to some of the best in the business to find many commonalities, diverging approaches and some fresh ideas. The morning show at iHeartMedia’s WRBT/Harrisburg goes three places for prep. “First is Dr. Dave’s Ultimate Show Prep,” says APD/MD/co-host Newman. “It delivers pop culture with a Country emphasis. It’s where I find out what happened while I was sleeping. If I was sleeping.” He was particularly impressed with the way the service handled the recent violence in Charlot-

tesville, VA. “They were honest,” Newman explains. “They didn’t know what to say. It’s so awkward to talk about racism.” Newman’s other resources are Premiere Prep and the Universal Comedy Network, which offers cre-ative audio bits. “Universal hits at least three home runs a week,” he says. Co-host Nancy Ryan scours

prep services and socials for her hourly music reports, looking for artist TV appearances and new releases. As far as artist audio clips, “We prefer to use our own,” says New-man. “Because of our proximity to Philadel-phia and New York, we get regular visits.” On the new-school side is KUZZ/Bakers-field PD Brent Michaels, who is on the air from noon-3pm. “If I had to rank them, first place is socials – Facebook, Twitter, Insta-gram and Snapchat,” he says. “I’m on my cell way more than I should be.” He uses those platforms not only for artist informa-tion, but to keep connected to what is (continued on page 10)

Nancy & Newman

Brent Michaels

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For publicist/former CMA exec. Wendy Pearl, it was Patty Loveless. “I’ve known Wendy since I was a summer transfer student into the University of Miami,” says Gleason. “She was my editor at the college paper. She would have editor meetings with me [at restaurants] to make sure I was fed. She’s such a passion-ate advocate for the music. She’s won a Pulitzer Prize. She’s a tremendous writer.” Pearl’s recollection of first hearing Loveless’ music on a south Florida biker bar jukebox, at the urgent rec-ommendation of a fellow patron – a Vietnam vet who carried around a pair of breast prosthetics in a white plastic bag – reads like a scene straight from a Fellini film. She found quarters in the bottom of her purse and selected Loveless’ “I’m That Kind Of Girl” and “On Down The Line.” Pearl Excerpt: I had never con-nected with a singer or a lyric in such an immediate and personal way. I was genuinely enthralled. The bartender and my biker Svengali seemed immune to my reaction, carrying on a new con-versation while I stared at the jukebox, slack-jawed. I was hearing my life played out in neon and grit, sawdust and sass, like I had never heard it before. Imagine a reporter, someone who tells other people’s stories for a living, hearing her story, her life, her heartache. It didn’t even seem possible, but there it was. I’d found meaning in the words and music of a coal miner’s daughter from Pikeville, Kentucky. Gleason asked Atlantic/WEA’s Aubrie Sellers to write an essay and was impressed with Sellers’ recollection of how Alison Krauss (specifically, Krauss and Robert Plant’s 2007 collab-oration Raising Sand) emboldened her own musical choices. “I’ve known Aubrie since she was a little girl on the ‘I Hope You Dance,’ video,” says Gleason. [Sellers is Lee Ann Womack’s daughter and Gleason is Womack’s former publicist.] “Aubrie was home schooled at that point, and I spent the entire cycle of that record negotiating with her to behave at photo shoots,” she laughs. “And almost always, it was a trip to a bookstore. She’s one of the few people who didn’t have to do any re-writing. That essay came in almost perfect.” Sellers Excerpt: There I was, a sixteen-year-old girl in my all-white shabby-chic bedroom, more concerned with procrastinating

RCA’s Ryan Hurd discusses his most influential music:1. Jimmy Eat World’s Futures: That was a very formative album for me. Sonically, there are a lot of things that we pulled from that onto my album, especially in the anthemic parts. 2. John Mayer: Even from his first album, he’s somebody who made me interested in songwriting.

3. The End Of Tour: It’s a movie with Jason Segel and Jesse Eisenberg. The dialogue in that film made me dig deeper in my songwriting.4. Coldplay: I saw them in concert for the first time when I was 18 years old. It was amazing. Seeing the production, and the lights during songs like “Yellow,” the whole thing was so cool. It made me interested in conceptualizing performances.5. Current country: It’s a really cool time for country right now. I love artists who are making their own way, like Kacey Musgraves, Sam Hunt, Eric Church, Maren Morris and Old Dominion. They don’t sound anything alike – I just love people who go their own way within our genre. It’s really inspiring.• Highly regarded music you’ve actually never heard: I never dove in to Pink Floyd or Led Zeppelin. • “Important” music you just don’t get: Neil Young is an incredible activist who uses his songs for what he wants to accomplish socially, but musically, he’s always gone over my head.• An album you listened to incessantly: John Mayer’s new album The Search For Everything, Ryan Adams’ Cold Roses, and Eric Church’s Carolina and Chief.• Obscure or non-country song everyone should listen to right now: My friend Andrew Dorff, who passed away in December, wrote a song called “Kiss Me When I’m Down” and Gary Allan recorded it. It’s one of the most creative “come over” songs I’ve ever heard and I’ve always been obsessed with it. • Music you’d rather not admit to enjoying: The new Blink-182 record, California. It’s so good. And I’m a huge Rihanna fan, which I’m not ashamed to admit.

MY TUNES: MUSIC THAT SHAPED MY LIFE

Ryan Hurd

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Shano & Swano’s Midwest Sock Block The sixth annual Shano & Swano Monsters of the Midwest Tour made its swag-dispensing, cheese-curd imbibing, beer-drenched way across four states over nine days and all anyone has to show for it are these stupid pictures. And socks. You know our heroes as Columbia’s Shane Allen and Red Light’s Chuck Swaney and you can probably pick out their radio welcome parties. In fact, you have to, because we don’t have the space for full photo IDs. The stations are KEEY/Minneapolis, KMNB/Minneapolis, WEBG/Chicago, WUSN/Chicago, WMAD/Madison, WWQM/Madison, WMIL/Milwaukee, WNCY/Green Bay (actually, the market is Appleton, but we’ll list it that way for Packers homer Allen), WBCT/Grand Rapids, WITL/Lansing and WYCD/Detroit. There are also appearances by Country Radio Hall of Famer Mick Anselmo, Townsquare’s Doug Montgomery, Mercury’s Charlie Dean and Sony’s Lauren Thomas (Shano, Swano, Lano & Deano?). Anyway, have at it with the IDs. Think of it like a game. Pin the name on the Swane. Or, pin the sock on the .... You get the idea.

until the weekend when my friends were out of school than doing anything constructive. I was thinking I would listen to this unexpect-ed record once before forcing myself to attack the huge pile of dirty clothes in my closet. What would one more hour hurt? I popped the CD into my unremarkable but glossy supermarket stereo; what came out glued me to the floor for several listens. My laundry didn’t get done that night. The major impact of Raising Sand was musical, but it may also have uncovered an understated truth that is important for any female musician aspiring to be independent and innovative. Being fearless, original, and authentic pays off. Alison did it on this record, and so many times before. ... When music is something you live and breathe, you can only hold your breath for so long. I

couldn’t outrun my genes, and no matter how much I resisted follow-ing in the footsteps of my family, there was always a record inside waiting to be made. Tanya Tucker was Gleason’s essay subject, with Gleason confessing she first noticed Tucker’s 1978 TNT as a 14-year-old music fan buying her weekly album in a record store. Gleason was hooked, first by the then-risqué album cover and later, by Tucker’s wiser-than-her-years song delivery. “Tanya Tucker knew things,” she says in the essay, “and I wanted to find out about those things.”

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As Tucker’s star rose, she began making the news for more than her music. “She went from being this girl that I listened to in my attic to being splattered all over the tabloids with really yucky headlines,” says Gleason. “You have to sometimes accept that people are going to be consumed by their fame. Don’t judge. Let people be. But there I am [in 1986], struggling in college and here comes Girls Like Me. Tanya was a phoenix. She rose from the ashes and made a really good record. And she just kept rising.” As to why Gleason’s book is by and about only women, she explains, “There’s so much in the media about feminism and women being locked out. I do think women have a different per-spective. And a woman-to-woman conversation strips away all the male-female pretext. “This book starts conversations,” Gleason concludes. “At the end I ask, ‘Who’s your woman? What did she mean to your life?’ When you put it in those terms, you’ll be amazed at what you’ve been given, that you didn’t even realize.” Other contributors include historian Holly George Warren (Wanda Jackson), USA Today’s Elysa Gardner (Taylor Swift) and the Washington Post’s Emily Yahr (Shania Twain). Reach Gleason here. Buy the book here.

–Wendy Newcomer

Chart Chat Congrats to Jon Pardi, Royce Risser, Bobby Young, David Friedman and the Capitol promotion squad on notching this week’s No. 1 with “Heartache On The Dance Floor.” The song is Pardi’s third chart-topper from California Sunrise. Songwriters are Bart Butler, Brice Long and Pardi.

And kudos to Kris Lamb and the Big Machine team for se-curing 48 adds on Midland’s “Make A Little,” topping this week’s board.

News & Notes Steve Cormier has agreed to purchase Radio Vermont’s four-station cluster that includes WLVB/Morrisville. Tracy Lawrence’s 12th Annual Mission: Possible Turkey Fry benefiting the Nashville Rescue Mission is Nov. 21 at the mission, with a concert at the Wildhorse Saloon that night featuring Luke Combs and Halfway To Hazard. Lorrie Morgan and son Jesse Keith Whitley are featured in the premiere edition of Fox News podcast Children of Song. Listen here. The Sisterhood’s Alyssa Bonagura and Ruby Stewart, Emily West, Jenny Gill and Kree Harrison are among the performers at the Oct. 6 Nashville Artists Unite hurricane relief benefit at Nashville’s 3rd & Lindsley. More here. MerleFest will begin accepting entries for the Chris Austin Songwriting Contest (CASC) Oct. 1. More here. Country Music Hall of Famer Bill Anderson and author Pe-ter Cooper were awarded by the Association for Recorded Sound Collections for their book Whisperin’ Bill Anderson: An Unprece-dented Life In Country Music.

The Week’s Top Stories Full coverage in the archives at countryaircheck.com.• Joe Limardi will join WOKQ/Portsmouth, NH as OM/Brand Manager (9/18). • The 11th Annual ACM Honors topped the ratings (9/18). • Roger Carson exited mornings on WDAF/Kansas City (9/19). Jon Pardi

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• Chris Randolph was named afternoon host at WFMS/India-napolis (9/19). • Julie Kansy will join Hall WPCV/Lakeland’s morning show (9/19). • Eddie Edwards and Erin Brennan paired for WUUU/Cov-ington, LA wakeups (9/20). • David Dean transferred to iHeartMedia KWNR/Las Vegas (9/20). • WIL/St. Louis shuffles lineup, “JT” to middays and Danny Mon-tana to nights (9/20).• Carson Blackley returning to WNCB/Raleigh as MD/midday host (9/22). • Jonathon West exited WKTI/Milwaukee (9/22).• Karen Dalessandro was named MD/afternoon host at WKTI/Milwaukee (9/25).

(continued from page 1)Preparation Yes!going on in his local community. Interprep and label sites are second and third on his list of resources. Few personalities wear as many hats as iHeartMedia’s Mi-chael J. His approach to prep is commensurate with a job

description that includes daily local shifts on hometown WPOC/Baltimore & WMZQ/Wash-ington DC, plus iHeartCustom and point-to-point voicetracking. Conceptually, he says, “I dial in to what’s on people’s minds. As a kid, I used to try to guess what my mom was going to say about my report card.” In appli-cation, he looks at what’s trending on Twitter and YouTube, reads local papers online and researches country music history.

He also looks at what’s going on in his own life. “There are universal themes, like the talk of confederate statues after the Charlottesville violence,” he says. “I try to [approach] from the out-side looking in. What does the truck driver in Minneapolis or the bartender in Baltimore want to hear?” He prefers social networks to prep services. For instance, “I’m following the [tattoo artist] for Chris and Preston from LoCash.” He still heeds direction he received former WPOC PD Scott Lindy, now at Cumulus WKHX/Atlanta: “There are three hills to capture. Country music, America

and family friendly.” He quizzes his current PDs on new acts they are hearing about in order to do research ahead of time. He also considers appearances as content gathering. “I want to hug every listener I can. “ Also taking a nationally focused tack is Ty Bentli, who brings multi-format experience to Cumulus’ Ty, Kelly and Chuck morning show. “I’ve been doing this for 20 years and the No. 1 foundation for me is water cooler talk,” he says. Bentli scans

websites TMZ, Huffington Post, Elite Daily and ABC News Radio, as well as markets where the show airs: New York, Detroit, Cincinnati, New Orleans and Sacramento. Personal lives are also fodder, as when Kelly Ford added roosters to her chicken coop in advance of the eclipse to see if they’d crow when the sun reappeared. “One ran away beforehand so that added to the drama,” Bentli says. And he admits some of his prep time is focused in an unexpected direction. “I’m a Packer fan so I look at a lot of Wisconsin sites.”Michael J.

Scott Lindy

Ty Bentli

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For the next month we'll spotlight one inductee each week, leading up to the Oct. 23 NSHoF Gala. Alabama native Aldridge engineered more than 200 records during his time at Fame Studios in Muscle Shoals and later, in Nashville. His cuts include Ronnie Milsap's "There's No Gettin' Over Me," Earl Thomas Conley's "Holding Her And Loving You" and Tim McGraw's "Some Things Never Change." I always had a fascination with making records. Writing songs allowed me to produce, play, sing on and engineer my demos. When

I got started, the studio was a hallowed ground that you had to be invited to, or have a lot of money so you could rent one. So by becoming a songwriter, it gave me the opportunity to do what I'd always been intrigued by – making music. I remember walking into Fame and seeing the records hanging on the wall, thinking, "This looks like the set list for the band you were in, in sixth grade," with "Mustang Sally," Land Of A Thousand Dances" – all these great soul records. Knowing you're sitting where Duane Allman sat to play a guitar part on a Wilson Pickett record challenges you to dig deep and do your very best. Rick Hall was first my boss and mentor. Rick has always preached the preeminence of the song. Some of my favorite recordings are not technically or vocally the best, but they always connect and hit a nerve. Very often, you'll have a fantastic singer with a great band and engineer, but if the song doesn't hit that nerve with people, it doesn't matter. Songwriting picked me as opposed to me picking it. Tommy Brasfield was a writer in Nashville who was more experienced. He heard some of my songs and said, "You have a lot of ability, but I think I could help you frame your music more towards the radio." If I ever did anything right, it was being open to that, rather than saying, "I like my music the way it is and I don't need your help." So Tommy and I started writing and eventually we wrote "No Gettin' Over Me," which was my first hit. That was back in the golden age of crossover, so it was a No. 1 Country record, a Top 5 Pop and No. 1 Adult Contemporary. After that hit I said, "Okay, it looks like I'm a songwriter – and a country songwriter, for that matter." My writing equipment is a guitar, a laptop and some kind of caffeine. I like to start in the morning when I'm fresh. But I've written all different ways. When I have writer's block, I power through. So much of what we do is crafting, is a learned instinct. The old saying that sometimes inspiration comes after perspiration is very true. And you don't know when the muse is going to visit. One time I was writing with Marty Stuart and we were stuck. He said, "Why don't we just swap guitars and see if that jogs anything loose?" I said, "Boy this is a really cool old Martin guitar. What's the story?" He said, "Well it was Hank's guitar." I said, "Hank Jr.?" He said, "No, that was Hank Sr.'s guitar." I was holding the Holy Grail of guitars. "Your Cheatin' Heart" could have been written on this guitar. So, I don't know whether it's imagined or whether there's real energy coming from the wood and the wire. But different guitars inspire different moods and words. I wish I'd written "He Stopped Loving Her Today." Every line in it is absolutely perfect. Couldn't have been better. A song's demo is a critical part of it. You're not only writing the lyric and melody, you're often writing the guitar intro lick that's going to be a hook. You're writing the production, somewhat. On "Holding Her And Loving You," we just didn't get it on the demo. But somehow, Earl Thomas Conley and his producer Nelson Larkin were able to hear through the demo and imagine it. When they played us the record, it sounded like a hit. When you heard Earl sing it, you believed it. You don't write songs for the money or the gold records. You write because you want to express yourself in some way that you're unable to express yourself otherwise. Getting this induction means my colleagues who have written some of my favorite songs – people whose opinions I value the most – are willing to say, "Hey man, you did good." It's quite a club to be voted into. I'm deeply honored.

NASHvILLE SoNgwrITEr HALL oF FAME 2017 INDUCTEE: wALT ALDrIDgE

Walt Aldridge

KKWF/Seattle MD/afternoon host Wingnut is a doomsday prepper of sorts. If all the other services disappear, he’s the one to call. “I am the Sanford & Son of phone bits,” he says. “I have ter-

rabytes of audio that I have saved since I was 16.” Wingnut prefers to take audio from prep and label sites, then write his own set-up. “I usually have them as running bits through the whole show instead of playing them once,” he says. And he uses theatre of the mind to generate audio if it doesn’t exist. “I’ll call a guy named Jason Aldean from Puyallup, Washington and put him on the air, after I get permission of course.” He also gives props to another station’s creativity. “I love that KKGO/

Los Angeles gets artists to host their midday show. What a great idea.” No big dummies there. Speaking of smart moves, WYCT/Pensacola PD/morning host Brent Lane builds his prep around the station’s live-and-local focus. Social media trending in his area, not nationally, is his go-to. Likewise local media. “We have a great local lifestyle site called The Pulse” that Lane uses to build a pyramid of subjects to address on-air. Features like the Cat Pack Coach of the Week give him the opportunity to speak with the audience directly. “We still do as many birthday shout-outs as we can get to and town mentions,” he says. “People love to hear themselves and where they live on the air.” Other services include InterPrep, label prep sites and prep from consultants Albright & O’Malley & Brenner. Hubbard WUBE/Cincinnati morning show host Dave Chan-dler’s co-host Chelsie Shinkle turns prep audio into hourly

reports that run all day in a feature called “The Dirt.” The morning show kicks off the top of the hour with the day’s top three stories. “For our female demo, Dancing with the Stars is like the NFL,” says Chandler. In addition to core artists social accounts, Chandler cites, “The Drudge Report, which has everything

in it – with links.” Personal experience is on tap, as well. “We had team coverage of my daughter’s first day of seventh grade, and reports on an in-law’s garage sale being used as a dumping ground for [co-host] Statt’s unwanted stuff.” Apex/WCKN/Charleston, SC morning host TJ Phillips also touts hyper-locality in his show›s competition with two syndicated morning shows. «I don›t rely on the services, because I figure they have the same info.» Similarly, listeners can easily access national information. «They know how to find out about their favorite stars on the internet.” Instead, Phillips tries to find “one or two local highlights and focus on them,” or put a local spin on na-tional topics. “Darius Rucker is our only local star,” he says. “While others may talk about what they see online, I talk about his TV room where he watches sports.” Phillips’ phone is another resource. ”I have listeners’ numbers from all the years I have been here. I call and talk to them.” –Paul Williams

Wingnut

Brent Lane

TJ Phillips

The Big Dave Show

Lon Helton, lon@countryaircheck.comChuck Aly, chuck@countryaircheck.com

Wendy Newcomer, wendy@countryaircheck.comPaul Williams, paul@countryaircheck.com

(615) 320-1450

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Trophy Life: Valory’s Thomas Rhett celebrates his No. 1 album Life Changes at the iHeartRadio Music Festival. Pictured (l-r) are the label’s George Briner; iHeart’s Rod Phillips, John Sykes and Tom Poleman; BMLG’s Scott Borchetta; Rhett; iHeart’s Bob Pittman and Bobby Bones; G Major’s Virginia Davis and BMLG’s Mike Rittberg.

Seek & eMPLOYAvailable Jobs

Here’s a list of job seekers and open gigs. Not listed? Send info here and we’ll include you in a future update:

Scripps KVOO/Tulsa is looking for a morning show co-host. Apply here.

CBS Radio KILT/Houston is looking for part-time weekend and fill-in talent. Send Airchecks here and apply here.

iHeartMedia WPOC/Baltimore is looking for a morning show co-host. Details here.

Saga WPOR/Portland, ME is looking for a PD and morning show co-host. Details here.

SiriusXM is looking for an Asst. Music Programmer based in Nashville. Details here.

Cumulus WGKX/Memphis is looking for an afternoon host. Get details and apply here.

Scripps WCYQ/Knoxville is seeking a new morning co-host. Airchecks and résumés here.

iHeartMedia WMZQ/Washington is looking for an APD/on-air host. More here.

Cox KKBQ & KTHT/Houston are looking for a National Sales Assistant and Account Executives for the cluster. Apply here.

Entercom KKWF/Seattle is looking for a morning show host. Details here.

Mountain Dog WFON/Fond Du Lac, WI is looking for a morning host. Send materials here.

The Academy of Country Music is seeking a Mgr./Strategic Partnerships and accepting applications for interns. Details here.

Beasley KCYE/Las Vegas is looking for a PD. Send materials here.

Searching•Kris StevensFormer WKKT/Charlotte afternoon host610-762-8332radiobigkat@gmail.com

•Big Chris HartFormer KUUB/KWFP PD/MD/Prod. Dir./afternoon host775-830-1320bigchrishart@hotmail.com

•Crash PoteetFormer KVOO/Tulsa and WKWS/Charleston/WV PD417-499-4046okccrash@gmail.com

• Bethany LindermanFormer WGNA/Albany morning co-host 727-460-2389linderman.bethany@gmail.com

• Mike PrestonFormer KKWF/Seattle PD 206-979-2500pljpreston@aol.com

• Jeff RoperFormer KCYY/San Antonio APD/MD/morning host210-790-7099ropershow@gmail.com

• Brian HatfieldFormer KYGO/Denver APD/MD/on-air704-604-6554hatfield99@gmail.com

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September 25, 2017

Chart Page 1

2 JON PARDIHeartache On The Dance Floor (Capitol)

25739 2101 8661 726 56.757 3.755 159 0

3 2 KENNY CHESNEY/All The Pretty Girls (Blue Chair/Columbia) ✔ 25068 1608 8467 507 55.983 3.41 159 0

1 3 DUSTIN LYNCH/Small Town Boy (Broken Bow) 24673 -2593 8159 -925 56.966 -4.023 159 0

4 4 JASON ALDEAN/They Don't Know (Broken Bow) 22843 852 7719 265 50.667 2.019 159 0

5 5 KANE BROWN f/L. ALAINA/What Ifs (RCA) ✔ 22471 1598 7444 514 50.229 3.297 159 0

7 6 KIP MOORE/More Girls Like You (MCA) 18415 527 6152 186 40.989 1.616 159 0

8 7 CARLY PEARCE/Every Little Thing (Big Machine) 17117 876 5936 309 37.079 2.673 159 0

9 8 LUKE COMBS/When It Rains It Pours (River House/Columbia) 16730 1058 5656 382 38.031 2.226 159 0

10 9 THOMAS RHETT/Unforgettable (Valory) ✔ 16436 1305 5424 361 38.274 3.873 158 0

11 10 CHRIS JANSON/Fix A Drink (Warner Bros./WAR) 15401 963 5414 347 33.785 2.871 159 0

12 11 BROTHERS OSBORNE/It Ain't My Fault (EMI Nashville) 14242 60 5030 28 29.698 0.375 158 0

13 12 MAREN MORRIS/I Could Use A Love Song (Columbia) 13676 368 4449 100 29.305 0.812 159 0

14 13 GARTH BROOKS/Ask Me How I Know (Pearl) 13370 374 4457 168 29.037 1.378 156 0

16 14 LUKE BRYAN/Light It Up (Capitol) 12379 1079 4085 299 27.489 2.841 159 1

17 15 LANCO/Greatest Love Story (Arista) 12099 858 4124 262 24.728 3.567 158 2

15 16 ERIC CHURCH/Round Here Buzz (EMI Nashville) 11779 386 4198 135 25.552 0.836 156 0

18 17 LOCASH/Ring On Every Finger (Reviver) 11348 172 3792 26 24.314 0.399 153 1

19 18 BRAD PAISLEY/Last Time For Everything (Arista) 9399 311 3271 77 19.562 0.895 158 0

21 19 FLORIDA GEORGIA LINE/Smooth (BMLGR) 9226 1082 3084 376 19.814 2.273 153 3

28 20 BLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) ✔ 8770 3055 2830 971 20.207 5.934 154 8

20 21 CHRIS YOUNG/Losing Sleep (RCA) 8347 48 2667 26 17.678 0.916 148 2

22 22 EASTON CORBIN/A Girl Like You (Mercury) 8218 219 2918 96 15.532 0.49 154 2

26 23 BRETT YOUNG/Like I Loved You (BMLGR) 7442 1294 2277 337 14.888 4.527 153 9

23 24 RUSSELL DICKERSON/Yours (Triple Tigers) 7385 230 2482 72 14.849 0.245 149 4

24 25 AARON WATSON/Outta Style (Big) 7153 61 2389 22 14.677 0.482 140 2

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

1 ✔

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

25 26 BIG & RICH/California (B&R/New Revolution) 6815 104 2513 57 10.445 0.531 144 1

27 27 WALKER HAYES/You Broke Up With Me (Monument/Arista) 6126 358 1903 89 10.668 0.953 129 8

29 28 MIRANDA LAMBERT/Tin Man (RCA) 5848 341 1887 88 9.2 0.746 131 1

30 29 DEVIN DAWSON/All On Me (Atlantic/WEA) 5798 427 1939 148 11.079 0.926 120 4

32 30 KELSEA BALLERINI/Legends (Black River) 4271 78 1373 6 6.512 0.062 128 2

33 31 GRANGER SMITH/Happens Like That (Wheelhouse) 3882 84 1376 30 5.684 0.229 131 4

34 32 BRANTLEY GILBERT/The Ones That Like Me (Valory) 3619 161 1206 73 6.548 0.009 120 3

35 33 CHRIS STAPLETON/Broken Halos (Mercury) 3477 230 1268 92 5.425 0.536 111 2

37 34 HIGH VALLEY/She's With Me (Atlantic/WEA) 3340 164 1106 33 5.932 0.732 87 2

38 35 LEE BRICE/Boy (Curb) 3289 256 1075 83 6.125 0.724 99 2

39 36 SCOTTY MCCREERY/Five More Minutes (Triple Tigers) 3229 424 1043 130 5.173 0.632 88 4

41 37 JORDAN DAVIS/Singles You Up (MCA) 2866 175 997 56 3.561 -0.229 108 4

42 38 MICHAEL RAY/Get To You (Atlantic/WEA) 2488 107 744 25 4.362 0.127 82 0

44 39 ZAC BROWN BAND/Roots (SouthernGrnd/Elektra/WAR) 2424 271 900 70 3.681 0.534 98 3

43 40 DAN + SHAY/Road Trippin' (Warner Bros./WAR) 2411 168 822 27 3.077 0.296 99 1

45 41 BRETT ELDREDGE/The Long Way (Atlantic/WMN) 2158 161 719 74 3.265 0.211 78 3

LITTLE BIG TOWN/When Someone Stops Loving You (Capitol) 2055 159 721 39 2.135 0.187 100 6

47 43 LAUREN ALAINA/Doin' Fine (19/Interscope/Mercury) 1867 0 718 13 2.46 0.062 101 2

48 44 PARMALEE/Sunday Morning (Stoney Creek) 1774 100 648 22 2.238 0.174 77 3

50 45 DARIUS RUCKER/For The First Time (Capitol) 1687 177 540 43 2.395 0.266 76 4

49 46 JOSH TURNER/All About You (MCA) 1601 79 603 41 2.332 0.131 88 5

47 OLD DOMINION/Written In The Sand (RCA) 1571 1013 425 257 3.307 2.266 55 17

48 CHASE RICE/Three Chords & The Truth (Broken Bow) 1479 38 507 18 1.727 0.07 83 4

49 COLE SWINDELL/Stay Downtown (Warner Bros./WMN) 1432 135 513 66 2.237 -0.043 63 4

50 LINDSAY ELL/Waiting On You (Stoney Creek) 1405 -68 511 -14 1.777 -0.187 73 0Re-Enter

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Country Aircheck Top Spin GainersBLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) 971

JON PARDI/Heartache On The Dance Floor (Capitol) 726

KANE BROWN f/L. ALAINA/What Ifs (RCA) 514

KENNY CHESNEY/All The Pretty Girls (Blue Chair/Columbia) 507

LUKE COMBS/When It Rains It Pours (River House/Columbia) 382

FLORIDA GEORGIA LINE/Smooth (BMLGR) 376

THOMAS RHETT/Unforgettable (Valory) 361

CHRIS JANSON/Fix A Drink (Warner Bros./WAR) 347

BRETT YOUNG/Like I Loved You (BMLGR) 337

CARLY PEARCE/Every Little Thing (Big Machine) 309

Country Aircheck Top Point GainersBLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) 3055 ✔JON PARDI/Heartache On The Dance Floor (Capitol) 2101 ✔KENNY CHESNEY/All The Pretty Girls (Blue Chair/Columbia) 1608 ✔KANE BROWN f/L. ALAINA/What Ifs (RCA) 1598 ✔THOMAS RHETT/Unforgettable (Valory) 1305 ✔BRETT YOUNG/Like I Loved You (BMLGR) 1294

FLORIDA GEORGIA LINE/Smooth (BMLGR) 1082

LUKE BRYAN/Light It Up (Capitol) 1079

LUKE COMBS/When It Rains It Pours (River House/Columbia) 1058

OLD DOMINION/Written In The Sand (RCA) 1013

Activator Top Spin GainersBLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) 357

LUKE COMBS/When It Rains It Pours (River House/Columbia) 171

BRETT YOUNG/Like I Loved You (BMLGR) 170

LUKE BRYAN/Light It Up (Capitol) 157

KENNY CHESNEY/All The Pretty Girls (Blue Chair/Columbia) 153

CHRIS JANSON/Fix A Drink (Warner Bros./WAR) 134

KANE BROWN f/L. ALAINA/What Ifs (RCA) 125

CARLY PEARCE/Every Little Thing (Big Machine) 108

JASON ALDEAN/They Don't Know (Broken Bow) 104

LANCO/Greatest Love Story (Arista) 100

Activator Top Point GainersBLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) 1660 ✔

LUKE BRYAN/Light It Up (Capitol) 746 ✔

CHRIS JANSON/Fix A Drink (Warner Bros./WAR) 738 ✔

LUKE COMBS/When It Rains It Pours (River House/Columbia) 628 ✔

BRETT YOUNG/Like I Loved You (BMLGR) 589 ✔

KENNY CHESNEY/All The Pretty Girls (Blue Chair/Columbia) 564

CARLY PEARCE/Every Little Thing (Big Machine) 531

LANCO/Greatest Love Story (Arista) 524

JASON ALDEAN/They Don't Know (Broken Bow) 484

KANE BROWN f/L. ALAINA/What Ifs (RCA) 392

Country Aircheck Top Recurrents Points

SAM HUNT/Body Like A Back Road (MCA) 16384

OLD DOMINION/No Such Thing As A Broken Heart (RCA) 15591

BILLY CURRINGTON/Do I Make You Wanna (Mercury) 14253

BRETT YOUNG/In Case You Didn't Know (BMLGR) 11310

THOMAS RHETT f/M. MORRIS/Craving You (Valory) 10995

DYLAN SCOTT/My Girl (Curb) 9941

LUKE COMBS/Hurricane (River House/Columbia) 8812

MIDLAND/Drinkin' Problem (Big Machine) 8806

JUSTIN MOORE/Somebody Else Will (Valory) 8397

JOSH TURNER/Hometown Girl (MCA) 6922

Country Aircheck Add Leaders Adds

MIDLAND/Make A Little (Big Machine) 48

LADY ANTEBELLUM/Heart Break (Capitol) 26

RUNAWAY JUNE/Wild West (Wheelhouse) 24

OLD DOMINION/Written In The Sand (RCA) 17

BILLY CURRINGTON/Wake Me Up (Mercury) 13

RONNIE DUNN/That's Why They Make Jack... (Nash Icon/Valory) 10

BRETT YOUNG/Like I Loved You (BMLGR) 9

JUSTIN MOORE/Kinda Don't Care (Valory) 9

BLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) 8

WALKER HAYES/You Broke Up With Me (Monument/Arista) 8

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September 25, 2017

Chart Page 6

Shania Twain Now (Mercury)Twain's latest album features 12 tracks written solely by her, with four additional tracks on the deluxe version. Songs include "Swingin' With My Eyes Closed," "Poor Me," "Life's About To Get Good" and

"You Can't Buy Love."

Chase Rice Lambs & Lions (Broken Bow)Rice's debut for the label was produced by Jacquire King, Ross Copperman, Mac McAnally and Chris DeStefano. Songs include single "Three Chords & The Truth," plus "On Tonight," "One Love" and "This

Cowboy's Hat" (featuring Ned LeDoux).

Little Feather Self Titled (Curb)Featuring debut single "Hillbilly Love Song," the project was produced by lead singer Liz Sharpe, Will Rambeaux and Bill MacDermott. Sharpe is a distant relative of Loretta Lynn and multi-instrumentalist/

singer Shannon Campbell is the son of the late Glen Campbell.

Nitty Gritty Dirt Band Anthology (Capitol)The band celebrates its 50-year anniversary with this two-disc set, beginning with the first song on their first album, "Buy For Me The Rain," and culminating with "The Resurrection" from 2009's Speed Of Life."

DARIUS RUCKER/For The First Time (Capitol) Moves 50-45* 1687 points, 540 spins 4 adds: KBEB, WTGE, WGGY, KATM*

JOSH TURNER/All About You (MCA) Moves 49-46* 1601 points, 603 spins 5 adds: KSON, WFMS*, WGH, WTGE, KFDI

OLD DOMINION/Written In The Sand (RCA) Debuts 47* 1571 points, 425 spins 17 adds: W1HC, WUSN, KUBL*, WUBE, WWKA*, WKTI, WIRK, KJKE, WGKX*, WWGR, KBQI, WTGE, WYNK, KATC*, KDRK, WPOR, WKSJ

CHASE RICE/Three Chords & The Truth (Broken Bow) Debuts 48* 1479 points, 507 spins 4 adds: WDRQ*, KEEY, WIL, WQNU COLE SWINDELL/Stay Downtown (Warner Bros./WMN) Debuts 49* 1432 points, 513 spins 4 adds: KAJA, KBEB, KSSN, KRYS

LINDSAY ELL/Waiting On You (Stoney Creek) Re-enters 50* 1405 points, 511 spins; no adds

DYLAN SCOTT/Hooked (Curb) 1404 points, 443 spins 5 adds: WNSH*, KUBL*, KWNR, WGH, WPCV

DANIELLE BRADBERY/Sway (BMLGR) 1273 points, 419 spins 3 adds: WYCD, KXLY, WKSJ

ADAM CRAIG/Just A Phase (Stoney Creek) 1270 points, 433 spins; no adds

COUNTRY AIRCHECK ACTIVITY

C H E C K O U T 9 / 2 9

October 2KID ROCK/Tennessee Mountain Top (Red Bow)WILLIAM MICHAEL MORGAN/Vinyl (Warner Bros./WMN)TYMINSKI/Bloodline (Mercury)DENNY STRICKLAND/We Don’t Sleep (Star Farm)

October 9JACKSON MICHELSON/Rollin’ (Curb)

October 16DELTA RAE/No Peace In Quiet (Valory)ASHLEY MCBRYDE/A Little Dive Bar in Dahlonega (Atlantic/WAR)Send yours to adds@countryaircheck.com

A D D DAT E S

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September 25, 2017

Chart Page 7

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

3 1 KENNY CHESNEYAll The Pretty Girls (Blue Chair/Columbia)

10966 564 2433 153 51 0

1 2 JON PARDI/Heartache On The Dance Floor (Capitol) 10327 -204 2347 -17 49 0

4 3 JASON ALDEAN/They Don't Know (Broken Bow) 9791 484 2214 104 50 0

5 4 KANE BROWN f/L.ALAINA/What Ifs (RCA) 9590 392 2170 125 49 0

6 5 KIP MOORE/More Girls Like You (MCA) 8848 88 1969 42 51 0

2 6 DUSTIN LYNCH/Small Town Boy (Broken Bow) 8622 -1815 1999 -348 46 0

7 7 LUKE COMBS/When It Rains It Pours (River House/Columbia) ✔ 8286 628 1808 171 51 0

8 8 CARLY PEARCE/Every Little Thing (Big Machine) 8115 531 1800 108 51 0

10 9 THOMAS RHETT/Unforgettable (Valory) 7488 307 1582 58 51 1

9 10 BROTHERS OSBORNE/It Ain't My Fault (EMI Nashville) 7450 14 1660 17 50 0

11 11 CHRIS JANSON/Fix A Drink (Warner Bros./WAR) ✔ 7010 738 1577 134 51 0

13 12 GARTH BROOKS/Ask Me How I Know (Pearl) 6016 -5 1335 22 49 0

14 13 ERIC CHURCH/Round Here Buzz (EMI Nashville) 5977 271 1274 68 51 0

15 14 LUKE BRYAN/Light It Up (Capitol) ✔ 5914 746 1228 157 51 2

12 15 MAREN MORRIS/I Could Use A Love Song (Columbia) 5905 -141 1283 3 50 0

16 16 LANCO/Greatest Love Story (Arista) 5599 524 1207 100 51 1

17 17 BRAD PAISLEY/Last Time For Everything (Arista) 4886 32 1034 13 50 0

18 18 LOCASH/Ring On Every Finger (Reviver) 4554 61 1013 22 49 1

19 19 AARON WATSON/Outta Style (Big) 4325 95 911 24 50 0

28 20 BLAKE SHELTON/I'll Name The Dogs (Warner Bros./WMN) ✔ 3833 1660 846 357 52 7

23 21 BRETT YOUNG/Like I Loved You (BMLGR) ✔ 3782 589 796 170 51 4

22 22 FLORIDA GEORGIA LINE/Smooth (BMLGR) 3772 379 852 94 49 0

21 23 CHRIS YOUNG/Losing Sleep (RCA) 3484 80 713 18 50 3

20 24 EASTON CORBIN/A Girl Like You (Mercury) 3450 -16 738 -2 46 0

24 25 BIG & RICH/California (B&R/New Revolution) 2813 -30 631 1 46 0

26 26 RUSSELL DICKERSON/Yours (Triple Tigers) 2628 162 591 34 44 1

27 27 KELSEA BALLERINI/Legends (Black River) 2350 -19 457 -2 43 3

30 28 MIRANDA LAMBERT/Tin Man (RCA) 2227 186 549 49 40 1

29 29 DEVIN DAWSON/All On Me (Atlantic/WEA) 2195 59 417 36 40 4

31 30 CHRIS STAPLETON/Broken Halos (Mercury) 1736 14 351 1 30 3

September 25, 2017

Chart Page 8

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

34 31 WALKER HAYES/You Broke Up With Me (Monument/Arista) 1716 208 361 39 41 6

32 32 LITTLE BIG TOWN/When Someone Stops Loving You (Capitol) 1708 70 349 19 26 1

33 33 LEE BRICE/Boy (Curb) 1648 129 319 33 31 1

36 34 BRANTLEY GILBERT/The Ones That Like Me (Valory) 1418 181 281 40 37 1

39 35 BRETT ELDREDGE/The Long Way (Atlantic/WMN) 1266 319 212 44 19 2

35 36 GRANGER SMITH/Happens Like That (Wheelhouse) 1240 -42 281 -2 34 0

37 37 ZAC BROWN BAND/Roots (SouthernGrnd/Elektra/WAR) 1147 -15 272 0 20 1

38 38 OLD DOMINION/Written In The Sand (RCA) 980 -20 133 -8 10 1

40 39 JORDAN DAVIS/Singles You Up (MCA) 890 -28 152 2 19 0

41 40 DAN + SHAY/Road Trippin' (Warner Bros./WAR) 884 -4 165 3 20 1

43 41 HIGH VALLEY/She's With Me (Atlantic/WEA) 830 34 140 20 23 0

45 42 LADY ANTEBELLUM/Heart Break (Capitol) 808 35 94 9 7 1

42 43 SCOTTY MCCREERY/Five More Minutes (Triple Tigers) 768 -30 190 0 21 2

46 44 DARIUS RUCKER/For The First Time (Capitol) 719 -10 120 1 10 0

50 45 MIDLAND/Make A Little (Big Machine) 708 73 96 11 7 2

44 46 CODY JOHNSON/Wild As You (Cojo) 704 -86 155 -15 11 0

47 47 COLE SWINDELL/Stay Downtown (Warner Bros./WMN) 692 -33 132 -11 15 1

51 48 ADAM DOLEAC/Whiskey's Fine (287) 630 0 63 0 1 0

52 49 MICHAEL RAY/Get To You (Atlantic/WEA) 621 17 99 2 7 0

55 50 CARLY PEARCE/If My Name Was Whiskey (Big Machine) 620 50 62 5 1 0

48 51 LINDSAY ELL/Waiting On You (Stoney Creek) 610 -52 72 -7 8 0

54 52 KANE BROWN/Better Place (RCA) 570 -10 57 -1 1 0

53 LUCAS HOGE/Dirty South (Rebel Engine/Star Farm) 520 29 98 1 8 0

54 DANIELLE BRADBERY/Sway (BMLGR) 489 110 62 11 4 0

56 55 BRANDON LAY/Speakers, Bleachers And Preachers (EMI Nashville) 483 11 70 -2 4 0

53 56 JUSTIN MOORE/Kinda Don't Care (Valory) 477 -125 69 -1 5 1

58 57 JANA KRAMER/I've Done Love (---) 470 20 47 2 1 0

58 JOSH TURNER/All About You (MCA) 465 88 86 16 13 1

57 59 DUSTIN LYNCH/Love Me Or Leave Me Alone (Broken Bow) 448 -20 46 -2 2 0

59 60 RASCAL FLATTS/Back To Us (Big Machine) 442 14 58 3 4 0

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