Markus Meyer
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Post by Markus Meyer on Aug 7, 2014 14:06:28 GMT -5
After a fairly slow last week for "Leave The Night On", this week has been downright rough. It's down 24 spins and has lost about .700 in audience as of Thursday morning. I don't remember "Keep Them Kisses Comin'" or "Where It's At" (Yep, Yep)" having a week this rocky in the twenties. It's testing below average thus far in Call-out scores with over a 15% total dislike with just a 65% positive feedback with a 19.6 neutral which means many have now been exposed to this song.I still expect this to pick the pace back up a bit since it's only 9 weeks old and MCA is fully committed to Sam, but now we've seen "Leave The Night On" go through it's first rough patch of road. That's actually very surprising IMO. I expected to be testing extremely well, but I guess many just find it too pop-ish.
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kanimal
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Post by kanimal on Aug 7, 2014 14:44:08 GMT -5
After a fairly slow last week for "Leave The Night On", this week has been downright rough. It's down 24 spins and has lost about .700 in audience as of Thursday morning. I don't remember "Keep Them Kisses Comin'" or "Where It's At" (Yep, Yep)" having a week this rocky in the twenties. It's testing below average thus far in Call-out scores with over a 15% total dislike with just a 65% positive feedback with a 19.6 neutral which means many have now been exposed to this song. I still expect this to pick the pace back up a bit since it's only 9 weeks old and MCA is fully committed to Sam, but now we've seen "Leave The Night On" go through it's first rough patch of road. Huh? I'm seeing 71.5 Positive vs. 9.7 Negative, which produces the 3rd highest net positive score among currents. Only Hope You Get Lonely and Where It's At are scoring more favorably. Familiarity is also still pretty low at this point. On top of that, songs with poor net positive call-out scores like River Bank, Drunk on a Plane and I Don't Dance are absolutely killing it...so who cares about this absurd metric anyway.
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onebuffalo
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Post by onebuffalo on Aug 7, 2014 14:49:13 GMT -5
After a fairly slow last week for "Leave The Night On", this week has been downright rough. It's down 24 spins and has lost about .700 in audience as of Thursday morning. I don't remember "Keep Them Kisses Comin'" or "Where It's At" (Yep, Yep)" having a week this rocky in the twenties. It's testing below average thus far in Call-out scores with over a 15% total dislike with just a 65% positive feedback with a 19.6 neutral which means many have now been exposed to this song. I still expect this to pick the pace back up a bit since it's only 9 weeks old and MCA is fully committed to Sam, but now we've seen "Leave The Night On" go through it's first rough patch of road. Huh? I'm seeing 71.5 Positive vs. 9.7 Negative, which produces the 3rd highest net positive score among currents. Only Hope You Get Lonely and Where It's At are scoring more favorably. Familiarity is also still pretty low at this point. On top of that, songs with poor net positive call-out scores like River Bank, Drunk on a Plane and I Don't Dance are absolutely killing it...so who cares about this absurd metric anyway. You're right. Chart position is what matters. Leave The Night On is heading toward the top twenty (#21 right now on the airplay chart) and it is at #7 on the sales chart approaching a quarter million. I think Sam Hunt is doing fine here.
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sabre14
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Post by sabre14 on Aug 7, 2014 15:03:38 GMT -5
After a fairly slow last week for "Leave The Night On", this week has been downright rough. It's down 24 spins and has lost about .700 in audience as of Thursday morning. I don't remember "Keep Them Kisses Comin'" or "Where It's At" (Yep, Yep)" having a week this rocky in the twenties. It's testing below average thus far in Call-out scores with over a 15% total dislike with just a 65% positive feedback with a 19.6 neutral which means many have now been exposed to this song. I still expect this to pick the pace back up a bit since it's only 9 weeks old and MCA is fully committed to Sam, but now we've seen "Leave The Night On" go through it's first rough patch of road. Huh? I'm seeing 71.5 Positive vs. 9.7 Negative, which produces the 3rd highest net positive score among currents. Only Hope You Get Lonely and Where It's At are scoring more favorably. Familiarity is also still pretty low at this point. On top of that, songs with poor net positive call-out scores like River Bank, Drunk on a Plane and I Don't Dance are absolutely killing it...so who cares about this absurd metric anyway. First of all, where did I say that call-out scores are the deciding factor if a song ultimately succeeds? Call-Out scores are used as just one aspect of a songs performance. "Dust" is having great call-out scores yet it won't make the top 10. Labels and country radio use these scores and spend money on research for these numbers so calling it an "obsurd" metric is perhaps going a little too strong if you ask me, even though I agree it can be misleading. Secondly, I said I got my numbers from "Call-Out America" which is in Billboard's weekly issues and those numbers are correct. I should have reiterated that the -24 spins and -.700 in audience are from MB's rolling chart. And many listeners have heard this compared to many others charting right now because of it's chart position. Usually when a song has a lower "Neutral" it means that more are familiar with it. Is it more familiar with listeners than let's say "River Bank" or "Drunk On A Plane"? - No, of course not but it's growing in familiarity more quickly compared to most other singles due to it's increased spins gains over the first 6-7 weeks of it's chart run.
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kanimal
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Post by kanimal on Aug 7, 2014 15:24:17 GMT -5
Huh? I'm seeing 71.5 Positive vs. 9.7 Negative, which produces the 3rd highest net positive score among currents. Only Hope You Get Lonely and Where It's At are scoring more favorably. Familiarity is also still pretty low at this point. On top of that, songs with poor net positive call-out scores like River Bank, Drunk on a Plane and I Don't Dance are absolutely killing it...so who cares about this absurd metric anyway. First of all, where did I say that call-out scores are the deciding factor if a song ultimately succeeds? Call-Out scores are used as just one aspect of a songs performance. "Dust" is having great call-out scores yet it won't make the top 10. Labels and country radio use these scores and spend money on research for these numbers so calling it an "obsurd" metric is perhaps going a little too strong if you ask me, even though I agree it can be misleading. Secondly, I said I got my numbers from "Call-Out America" which is in Billboard's weekly issues and those numbers are correct. I should have reiterated that the -24 spins and -.700 in audience are from MB's rolling chart. And many listeners have heard this compared to many others charting right now because of it's chart position. Usually when a song has a lower "Neutral" it means that more are familiar with it. Is it more familiar with listeners than let's say "River Bank" or "Drunk On A Plane"? - No, of course not but it's growing in familiarity more quickly compared to most other singles due to it's increased spins gains over the first 6-7 weeks of it's chart run. If the Call Out America scores and CMM Call Out Scores are so different that the same song can be a below average performer on one listing and a Top 3 performer on the other, something is definitely wrong with the system. I wasn't at all disagreeing with the idea that this song's slowdown is worrisome. I was just saying that I don't know that it's definitively related to poor call-out scores, as the CMM scores and persistently strong iTunes performance suggest the song does have a supportive base.
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Markus Meyer
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Post by Markus Meyer on Aug 7, 2014 15:24:38 GMT -5
After a fairly slow last week for "Leave The Night On", this week has been downright rough. It's down 24 spins and has lost about .700 in audience as of Thursday morning. I don't remember "Keep Them Kisses Comin'" or "Where It's At" (Yep, Yep)" having a week this rocky in the twenties. It's testing below average thus far in Call-out scores with over a 15% total dislike with just a 65% positive feedback with a 19.6 neutral which means many have now been exposed to this song. I still expect this to pick the pace back up a bit since it's only 9 weeks old and MCA is fully committed to Sam, but now we've seen "Leave The Night On" go through it's first rough patch of road. Huh? I'm seeing 71.5 Positive vs. 9.7 Negative, which produces the 3rd highest net positive score among currents. Only Hope You Get Lonely and Where It's At are scoring more favorably. Familiarity is also still pretty low at this point. On top of that, songs with poor net positive call-out scores like River Bank, Drunk on a Plane and I Don't Dance are absolutely killing it...so who cares about this absurd metric anyway. Actually, I may be incorrect but isn't "I Don't Dance" among the top songs on call-out America? Secondly, it's far from absurd. Sure it's far from the deciding factor but it's still something worth watching if you're a label.
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sabre14
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Post by sabre14 on Aug 7, 2014 15:32:29 GMT -5
First of all, where did I say that call-out scores are the deciding factor if a song ultimately succeeds? Call-Out scores are used as just one aspect of a songs performance. "Dust" is having great call-out scores yet it won't make the top 10. Labels and country radio use these scores and spend money on research for these numbers so calling it an "obsurd" metric is perhaps going a little too strong if you ask me, even though I agree it can be misleading. Secondly, I said I got my numbers from "Call-Out America" which is in Billboard's weekly issues and those numbers are correct. I should have reiterated that the -24 spins and -.700 in audience are from MB's rolling chart. And many listeners have heard this compared to many others charting right now because of it's chart position. Usually when a song has a lower "Neutral" it means that more are familiar with it. Is it more familiar with listeners than let's say "River Bank" or "Drunk On A Plane"? - No, of course not but it's growing in familiarity more quickly compared to most other singles due to it's increased spins gains over the first 6-7 weeks of it's chart run. If the Call Out America scores and CMM Call Out Scores are so different that the same song can be a below average performer on one listing and a Top 3 performer on the other, something is definitely wrong with the system. I know the Call-Out America scores are determined by a sample of 450 people from 20 different markets with half male and half female with a balanced ratio of different age brackets. People are basically asked "How do you feel about this particular song". They give them a 1-5 scale with 1 meaning strong dislike and 5 meaning liking the song a lot. Country radio uses these as just one single barometer for what to play and how much to play them. It's nowhere near the deciding factor for determining what are hits these days (that's a whole different discussion many of us have had in this forum plenty of times). In my original post, I mentioned the fact I thought this would still do relatively fine, and that it's airplay pace would pick back up, but that it's starting to have some rough patches in it's chart run. It's selling well though and Sam has a major label backing him with many resources, so of course "Leave The Night On" still has many good things going for it thus far.
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kml567
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Post by kml567 on Aug 7, 2014 18:30:51 GMT -5
The callouts are excellent for the target demo that UMG/Hunt are aiming for. It's #2 Men 25-34, #4 Persons 25-34, #6 Female 25-34. Hopefully MCA will start promoting with big ads bragging about the high iTunes sales, strong callouts in target demos, high streaming stats, etc. There's so many positive stats that UMG could advertise to convince radio PDs!
I notice the song had a +400 spin increase just 10 days ago, so my first guess is that the "On The Verge" deal is finally over this week, and then things will be back to "normal" next week. Good news is that the new UMG Nashville president is a big believer of Sam Hunt, so I don't think she will let her first major signing to go down without a fight. The iTunes sales are very impressive, so it really shouldn't be that difficult to convince radio PDs to start upping the spins soon.
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Markus Meyer
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Post by Markus Meyer on Aug 7, 2014 23:36:55 GMT -5
The callouts are excellent for the target demo that UMG/Hunt are aiming for. It's #2 Men 25-34, #4 Persons 25-34, #6 Female 25-34. Hopefully MCA will start promoting with big ads bragging about the high iTunes sales, strong callouts in target demos, high streaming stats, etc. There's so many positive stats that UMG could advertise to convince radio PDs! I notice the song had a +400 spin increase just 10 days ago, so my first guess is that the "On The Verge" deal is finally over this week, and then things will be back to "normal" next week. Good news is that the new UMG Nashville president is a big believer of Sam Hunt, so I don't think she will let her first major signing to go down without a fight. The iTunes sales are very impressive, so it really shouldn't be that difficult to convince radio PDs to start upping the spins soon. I believe the On The Verge treatment was done a loooong time ago. Think it's a week long thing.
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Post by ladymadonna on Aug 8, 2014 8:54:38 GMT -5
I believe the On The Verge treatment was done a loooong time ago. Think it's a week long thing. No, definitely much more than a week in this case. The hourly spins may have waned but I was regularly hearing the "This is On The Verge artist Sam Hunt with Leave the Night On, sponsored by MCA Nashville" tag on my local ClearChannel station as recently as 1-2 weeks ago.
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sabre14
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Post by sabre14 on Aug 8, 2014 12:01:51 GMT -5
"On The Verge" helps with increased airplay long after that initial week and the momentum can be sustained, so I think that's what kml567 might have meant. Though I agree that this is slowing down much more than Craig or Dustin's songs did after "On The Verge". Sam's single sales and label are definitely his biggest ally right now, so I'm predicting this will pick up the pace again, though how big of a hit this will be is still unknown to me since I don't have enough experience predicting how "On The Verge" singles have done with only two to go off of. Plus this is a heavy pop leaning country songs which could lead to being polarizing, yet his sales have been very good and mixed call-out scores. Either way I'm definitely going to take a wait and see approach to how "Leave The Night On" performs from here on out, so I don't feel fans of this song shouldn't worry too much yet.
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kanimal
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Post by kanimal on Aug 8, 2014 13:30:32 GMT -5
I believe the On The Verge treatment was done a loooong time ago. Think it's a week long thing. No, definitely much more than a week in this case. The hourly spins may have waned but I was regularly hearing the " This is On The Verge artist Sam Hunt with Leave the Night On, sponsored by MCA Nashville" tag on my local ClearChannel station as recently as 1-2 weeks ago. That sounds horribly problematic to me, as I'm almost positive Clear Channel's stance has been that this isn't pay for play. And the recent Washington Post article on On the Verge said each Clear Channel station is required to play the song 150 times - not sure if there's a time window, but I'd imagine they've all hit that mark at this point.
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rsmatto
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Post by rsmatto on Aug 8, 2014 15:10:09 GMT -5
No, definitely much more than a week in this case. The hourly spins may have waned but I was regularly hearing the " This is On The Verge artist Sam Hunt with Leave the Night On, sponsored by MCA Nashville" tag on my local ClearChannel station as recently as 1-2 weeks ago. That sounds horribly problematic to me, as I'm almost positive Clear Channel's stance has been that this isn't pay for play. And the recent Washington Post article on On the Verge said each Clear Channel station is required to play the song 150 times - not sure if there's a time window, but I'd imagine they've all hit that mark at this point. According to current laws if it's considered a "Commercial" it can play and still count. That's technically how Reba's last MCA #1 ("Somebody?") got to #1.
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kanimal
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Post by kanimal on Aug 8, 2014 15:15:04 GMT -5
That sounds horribly problematic to me, as I'm almost positive Clear Channel's stance has been that this isn't pay for play. And the recent Washington Post article on On the Verge said each Clear Channel station is required to play the song 150 times - not sure if there's a time window, but I'd imagine they've all hit that mark at this point. According to current laws if it's considered a "Commercial" it can play and still count. That's technically how Reba's last MCA #1 ("Somebody?") got to #1. What I meant was that "sponsored by MCA" would be the required disclaimer if the airplay were purchased. It counts, but it has to be identified as a "commercial." In indirectly/pre-emptively defending On the Verge against payola, Clear Channel/iHeart has said the songs are chosen irrespective of label or artist and solely based on what their curators/programming people think represents great new music. So my question is - why would they have to claim this was "sponsored by MCA Nashville" if the label did not, in any way, offer compensation for the airplay?
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rsmatto
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Post by rsmatto on Aug 8, 2014 15:21:30 GMT -5
According to current laws if it's considered a "Commercial" it can play and still count. That's technically how Reba's last MCA #1 ("Somebody?") got to #1. What I meant was that "sponsored by MCA" would be the required disclaimer if the airplay were purchased. It counts, but it has to be identified as a "commercial." In indirectly/pre-emptively defending On the Verge against payola, Clear Channel/iHeart has said the songs are chosen irrespective of label or artist and solely based on what their curators/programming people think represents great new music. So my question is - why would they have to claim this was "sponsored by MCA Nashville" if the label did not, in any way, offer compensation for the airplay? Cause every label that has used this "program" has had to do that.
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Post by 43dudleyvillas on Aug 8, 2014 15:28:46 GMT -5
With respect to callout, any one survey is just a snapshot, as the variation between survey results discussed by sabre14 and kanimal shows. Local radio stations likely watch movement on various national callout charts, but also look at regional and local data because, as you might expect, there is some variation in how certain sounds and themes connect in different markets. As I understand it, radio stations tend to pay the most attention to the "M-score," which measures tune-in and tuneout from a station while a song is being played via Arbitron's Portable People Meter, but even that is just one of several tools used by stations to try to identify a hit. Callout tools all have their methodological issues and skews -- the phone-based or auditorium-based surveys fulfill the "random selection" requirement, but the pool of people who actually have time to take those surveys isn't always at the forefront of music trends. Online surveys are more likely to draw a large sample, but it's a self-selecting one (violating stats rule #1), it's not a good idea to trust self-reporting on demographics issues, and online surveys are vulnerable to spam from active online fanbases. Even Arbitron's PPM participants seem likely to be skewed...I would think plenty of people would opt out on privacy grounds. But radio programmers insist they take audience feedback into account in determining their playlists, and these callout surveys, warts and all, are how. In any event, with respect to this song, I still don't hear a whit of country in it, but after hearing it a few times, I do feel like it's a hit song. Considering the sales, I'll be surprised if the song is done so soon and without making the top-20, so I'll join kml567 and sabre14 in expecting it to start at least a small recovery next week. Thanks kanimal for mentioning the Washington Post article on Clear Channel's On the Verge program. I had missed it, and it answers my early questions about how songs are selected for the program (and now that I know, not a fan). Here's the link for anyone else who hadn't seen it, and here's the meat of the article:I had hoped the picks were based on some kind of metrics where the song was tested for audience response ahead of time, but evidently not. Anyway, Clear Channel stations comprise 48 out of the 149 stations on the Mediabase published country panel. So that guarantees On the Verge picks 7,200 cumulative spins on the Mediabase country chart. ETA: OK, my guaranteed spins number may be a bit off because I counted Clear Channel Premium Choice among the forty-eight Clear Channel stations, and that one is meant for syndicated programming.
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sabre14
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Post by sabre14 on Aug 8, 2014 16:13:59 GMT -5
^ Unfortunately that's pretty much how I was thinking they made their selections with the "On The Verge" program. Songs that program directors will think move the needle the most with their listeners. I still wish that they got listener feedback in any shape or form to help determine the selections they go with instead of just going with "A gut feeling" on what people will react to, even though I agree with others including 43dudleyvillas that the surveying of listeners is flawed and is just a snapshot of a much larger picture. I think the last two selections definitely make sense to me with "Where It's At" and "Leave The Night On", though I'm a little surprised they went with Craig's "Keep Them Kisses Comin'" first out of the gate since that seems like a song that felt like a successful country single 5 or 6 years ago, while Dustin's and Sam's seem to cater more to the demographic that country radio is targeting towards more of now in 2014. My opinion hasn't changed about this program knowing what goes into it (though I still suspect there is some things they might not reveal about the process, though I'm happy to know how it goes from the start of the decision process to the end). What I still would like to know is how did Clear Channel come up with "On The Verge"? What was the motive to begin this program? Is it in fact purely to break newer artist into their respective format like the article states? Perhaps this is just one more step to having totally syndicated playlists. Clear Channel has (for at least one song) more power to what their owned stations play, and I'm not saying they don't have a right because they do "own" these stations, I just wish this program would go more off of listener feedback in almost any shape or form instead of (which I now know from that article) going off "gut feelings" from program directors about certain songs. He didn't really answer the question in this part of that article to me. "Everybody appreciates the power it can do" reads like, everyone is eligible for this program, so why bash it if your artist can benefit next? I don't know how this program will turn out for future selections or even how long this will last, but I still don't like this program myself for reasons I've stated before.
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kml567
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Post by kml567 on Aug 9, 2014 17:33:35 GMT -5
Lots of good news for Sam fans this week! It's now Top 10 on Billboard Hot Country songs chart. Looks like this is a top 10 hit on an official Billboard chart!
I also saw the video on CMT's Top 20 countdown today, so it's great to see Sam's music getting exposure in other media outlets.
The most exciting news is this tweet that I just got:
@flagaline 2h
@samhuntmusic this is your official and last offer. You wanna tour with us all of 2015?! It will be the party of the year....
FGL/TR/Sam Hunt tour in 2015 makes a very powerful combination for the next generation of country! Although the tweet made it sound like Sam is still debating whether to accept the offer or not, so I suspect he might have a better offer? I've always thought Sam would join the 2015 Luke Bryan tour (due to UMG connections) or Kenny Chesney tour (due to "Come Over" connections), but FGL would be a great fit also. This will really help his career skyrocket commercially touring with the A-listers. My only worry is that Sam's management team/UMG may be afraid of the bro-country "backlash" that's been over-hyped by the media, and Sam turns down the offer. I know lots of new artists are now scared of being blacklisted as "bro", but the pros far outweigh the cons.
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Post by countrymusic20 on Aug 10, 2014 23:22:35 GMT -5
This song lost its bullet on mediabase this week. I wonder if the iheart radio push ended and now reality is setting in for this song?? This song was never good enough to have jumped up the the chart the way it did on its own.
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Deleted
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Post by Deleted on Aug 10, 2014 23:33:39 GMT -5
No, definitely much more than a week in this case. The hourly spins may have waned but I was regularly hearing the " This is On The Verge artist Sam Hunt with Leave the Night On, sponsored by MCA Nashville" tag on my local ClearChannel station as recently as 1-2 weeks ago. That sounds horribly problematic to me, as I'm almost positive Clear Channel's stance has been that this isn't pay for play. You must have missed my post from back in June when this one first came out: KNIX (Phoenix's Clear Channel station) is playing this a ton...I heard it 3 times today and every time the song concluded a little recording said "iHeartRadio On The Verge, sponsored by MCA Nashville". The 'sponsored' part is what really intrigues me (and not in a good way). I haven't had a Clear Channel station on in the last week or two, but all the CC stations I could hear had the "sponsored by MCA Nashville" line in there. I still don't understand why that needs to be said, if MCA didn't compensate Clear Channel for the airplay (which would be illegal as I understand it). I've been in the midwest for a month or so now, and I've heard this song plenty...the Milwaukee, Omaha, and Twin Cities' Clear Channel stations all had the "sponsored by MCA Nashville" tag, as did KNIX when I was still in Phoenix in June (headed back there tomorrow). Anyway, I think the lull for this song is simply because the 5-6 week "On The Verge" window has come to an end, but I fully expect this to pick right back up in the next week or two and zoom to #1. All the early indicators are there, even considering its current struggles. It was most added right out the gate, it's selling, and it's just another new popular sound for country radio to run with. Everything has aligned (largely through backroom deals it seems, lol) for this to be a big hit and for Sam to catapult up the ladder of stardom, although I will say that I still think this would have been a big hit even without On The Verge; it would've just climbed slower. I like the lyrics but it just doesn't sound like a country song, not even in 2014 when country radio hardly sounds country anymore.
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dm2081
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Post by dm2081 on Aug 11, 2014 23:30:10 GMT -5
Uhhh.... after listening to his 4 song EP, I can indeed confirm that Sam is not country by any means. He seriously sounds like One Direction on most of the songs. Why are they even branding him as country? I feel like he would actually be bigger on Pop radio. So what, throw in the words small town, truck, and beer and that makes you country? I don't like this song at all, its super generic, sounds like Hot AC music, and I don't even find his voice to be all that strong. I don't have anything against Sam, but I really hope he's not going to become a big name artist on country radio. I will be rooting against him and his songs from this point on. It sucks that this song has passed some real country artists like Eric Church. Sam makes Chase Rice seem like Waylon Jennings.
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rgreen0625
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Post by rgreen0625 on Aug 12, 2014 0:01:39 GMT -5
I really like Sam as an artist, Between The Pines has been in heavy rotation for me since I discovered it last winter. But this new EP is completely overproduced.....
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kanimal
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Post by kanimal on Aug 13, 2014 8:41:18 GMT -5
I really like Sam as an artist, Between The Pines has been in heavy rotation for me since I discovered it last winter. But this new EP is completely overproduced..... Forget overproduced. It just sucks. And you can see that I've been a major defender of this song in the thread - but the other three tracks are God awful. I mean there's a lyric, "you Rascal, you." Is he freaking serious?
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rsmatto
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Post by rsmatto on Aug 13, 2014 9:19:08 GMT -5
I really like Sam as an artist, Between The Pines has been in heavy rotation for me since I discovered it last winter. But this new EP is completely overproduced..... Forget overproduced. It just sucks. And you can see that I've been a major defender of this song in the thread - but the other three tracks are God awful. I mean there's a lyric, "you Rascal, you." Is he freaking serious? Oh that's a fun line. It fits with the story of the song (the girl was originally using him to get back at her ex boyfriend). The lyrics are interesting and I get that his sounds aren't 'Country' but considering Mainstream country radio is basically 'pop' these days (and 'pop' is mostly Dance/R&B stuff), Sam definitely fits where he's at. But I've always felt "Ex To See" and "Break Up In A Small Town" were more pop-leaning and crossover potential stuff. I see Sam Hunt's music the same way I see Taylor Swift's. The man has potential to be a huge crossover star and that's evident by his EP. The production isn't awful or even 'overproduced' (to me). In fact, it's right where I expected it to be. As for comparing it to his 'mixtape, rgreen0625, the X2C EP and subsequent albums were always going to sound 'over produced' if being compared from a production sound point. The Mixtapes were basically 'acoustic' demos.
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gurustu
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Post by gurustu on Aug 13, 2014 9:26:11 GMT -5
There's no doubt that Sam Hunt is talented and can sing his butt off, but he is NOT Country and I'm tired of newer Country trying to be what it's not (Rap, Pop, R&B, etc). This needs to be played more so on POP and R&B stations
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Uncle Lumpy
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Post by Uncle Lumpy on Aug 13, 2014 12:37:07 GMT -5
So it took MCA the better part of a year to trudge George Straits last single to the upper reaches of the Top 20 , but they can simply purchase a top ten hit for a blatant Pop act? And in a little over two months? I'm so nauseously sick of this genre of music that I used to love like a family member.
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sabre14
Diamond Member
Vince Gill & the Muppets make everything better
Joined: October 2013
Posts: 26,916
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Post by sabre14 on Aug 13, 2014 12:45:16 GMT -5
So it took MCA the better part of a year to trudge George Straits last single to the upper reaches of the Top 20 , but they can simply purchase a top ten hit for a blatant Pop act? And in a little over two months? I'm so nauseously sick of this genre of music that I used to love like a family member. It's not top 10 yet. It sits at #21 on the MB rolling chart and actually had a negative bullet this past week. It has rebounded it's spins and audience (over a million in audience since Sunday) this week, but it's not that close to the top 10 as of yet.
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Uncle Lumpy
3x Platinum Member
The poster formerly known as Lumpster
Joined: September 2005
Posts: 3,425
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Post by Uncle Lumpy on Aug 13, 2014 12:51:17 GMT -5
So it took MCA the better part of a year to trudge George Straits last single to the upper reaches of the Top 20 , but they can simply purchase a top ten hit for a blatant Pop act? And in a little over two months? I'm so nauseously sick of this genre of music that I used to love like a family member. It's not top 10 yet. It sits at #21 on the MB rolling chart and actually had a negative bullet this past week. It has rebounded it's spins and audience (over a million in audience since Sunday) this week, but it's not that close to the top 10 as of yet. Ah. Thanks. I see its the Bastardized "Chart" that its hit top ten. Its still a shame , and I'm sure it will still out peak Straits single. Ugh!
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onebuffalo
Diamond Member
#LiteralLegender
I am One Buffalo.
Joined: June 2009
Posts: 26,614
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Post by onebuffalo on Aug 21, 2014 12:49:46 GMT -5
Sam Hunt's EP, X2C enters the country albums chart at #5 after selling 8000 copies.
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someguy
Diamond Member
Joined: October 2003
Posts: 16,031
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Post by someguy on Aug 26, 2014 22:11:38 GMT -5
This seems to have recovered nicely after its "On The Verge" run has finished. I still think that the song is better suited to HotAC than country, but I do quite like it. The firm album release date shows that MCA is invested in Sam, and I can see him being the next big country crossover artist, especially after Hunter Hayes seems to have faltered a little.
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