Do you think the Stagecoach organizers contracted Brad Paisley to get that whole "larger than life" effect going?

Stagecoach [Official site]

Just a year ago, a 65-space jump to No. 3 would have been enough to make our eyes pop. When Britney Spears did it in early October 2007 with “Gimme More,” it was considered something of a triumph—especially as she was at the height of her meltdown phase and coming off a tragic performance at the 2007 Video Music Awards.

Now, we’re a little harder to impress. In its third week on the charts, “Boy” makes the exact same move from No. 68 to No. 3—and chart geeks yawn. That’s because the last two months have brought three straight leaps all the way to No. 1 from below No. 70. (The most recent was by Spears herself, whose “Womanizer” bested “Gimme More” by shooting from No. 96 to the penthouse.)

Still, Beyoncé’s got nothing to be ashamed of: her gender-flip of Prince’s “If I Was Your Girlfriend” (well, I like to think of it that way) is her ninth career Top 10 single and sold almost 190,000 digital downloads. And it brings her one hit away from matching the career chart record of the group she ditched four years ago.

Destiny’s Child, B’s erstwhile group, scored a total of 10 U.S. Top 10 hits. (That actually understates their global popularity a bit: in Britain, Australia, and Canada, they scored 12.) Those 10 U.S. hits are out of 14 Top 40 hits, which is itself an impressive track record; in a little over six years, all of their singles either made the top 40 of the Hot 100 or didn’t chart here at all (usually because they weren’t promoted here). Among their hits were four No. 1s: “Bills, Bills, Bills” (1999), “Say My Name” (2000), “Independent Women, Part I” (2000) and “Bootylicious” (2001).

With “Boy,” Beyoncé scores her ninth Top 10 hit, just one hit away from Destiny’s total. A couple of her hits have missed the Top 40, but that’s not too shameful (especially in the iTunes era, when some songs chart based on brief spurts of digital sales; DC missed that phenomenon entirely). B also has four career No. 1 hits: “Crazy in Love” (2003), still her all-time best as far as I’m concerned; “Baby Boy” with Sean Paul (2003); “Check on It” with Slim Thug and Bun-B (2006); and “Irreplaceable” (2006, and the top Billboard pop hit for all of 2007). At least for now, “Boy” isn’t going to give her bragging rights to a fifth.

It took Destiny’s Child a little over six years to amass their 10 Top 10s, and that’s pretty much exactly where B is in her career, if we start her “solo” career (which overlaps with the last Destiny’s album and a greatest-hits collection) in 2002. That’s when she made an appearance on “’03 Bonnie and Clyde,” a duet with then-future husband Jay-Z. (Think I’m making up that Prince comparison? B actually sings a couple of lines from “If I Was Your Girlfriend” on that hit.)

It’s quite likely that Beyoncé will tie her former group's Top 10 track record soon, maybe even in the next few weeks. “Single Ladies (Put a Ring on It),” the other single leading off I Am… Sasha Fierce, is already a fast-breaking Top 10 R&B hit. It will presumably be available for individual download when the album drops in two weeks, and a sales rush would make “Single Ladies” an easy Top 10 hit on the Hot 100.

Just to address one elephant in the room, which Beyoncé’s casting in the movie Dreamgirls hinted at: B seems to be doing better as a solo act when compared with Diana Ross after she left the Supremes. Ross’s solo career—six No. 1’s, 14 Top 10s, and 30 Top 40s over 15 years—is impressive by almost any reckoning. Any reckoning, that is, except that of the Supremes, the second-biggest pop-chart act of the ’60s (after the Beatles), with 12 No. 1’s, 19 Top 10s, and 26 Top 40s in a remarkably tight six-year-and-change timeframe. (Unlike Destiny’s Child, the Supremes continued to exist after Ross left in 1970—and without her they scored seven more Top 40 hits by 1976.)

I guess, thinking for a minute less like a chart columnist and more like a critic, it could be argued that Beyoncé’s entire career has been as a glorified solo act, and that we might as well tote those DC hits in her column. Unlike dad/manager Mathew Knowles, who by all accounts knew what his girl was doing from the moment Destiny’s Child launched in 1997, it took Berry Gordy a few years to reconceive his star group as a solo-act preparatory vehicle—they only became “Diana Ross and the Supremes” halfway through 1967. On the other hand, unlike Diana, Beyoncé returned to the group in 2004 even after scoring her first raft of solo hits, and the Knowleses insisted on regarding DC as its own distinct thing.

No matter what, among big solo careers that followed already-big group careers—from Beatles/Paul McCartney to Simon and Garfunkel/Paul Simon to Wham!/George Michael—Ms. Knowles already ranks among the bigger ones, and within a few years she’ll probably have Ms. Ross beat for the biggest two-act career by a woman. Not too shabby.

Here's a rundown of the rest of this week's charts:

• It’s stasis above Beyoncé on the Hot 100, with T.I.’s simultaneous hits holding position in the top two slots. “Whatever You Like” continues to slip in sales—at 137,000 downloads, it’s down 11% this week, after a 5% drop last week—but it’s still growing at radio, and that airplay dominance keeps it in the top slot overall for a seventh week. Even so, T.I.’s chart-topper loses its bullet on this week’s chart. But his “Live Your Life,” at No. 2, is bulleted and still growing. The Rihanna duet sells another 180,000 downloads, and as I kinda predicted last week, it’s now the third most-played song at radio, up from fourth. I’m done trying to predict when or if the T.I./Rihanna duet will return to No. 1, but all signs continue to point to a comeback.

• David Cook’s “Light On” makes a modest chart comeback three weeks after it debuted at a tepid (for him) No. 17 and a week after it dropped off the Hot 100 entirely. A rebound in his digital sales, to about 34,000 copies, fuels a re-entry on the big chart at No. 60. It remains absent at most radio stations, including all rock formats and most Top 40 stations—with the exception of Adult Top 40, where it’s up seven slots to rank 29th.

The next week or two might be really interesting for Cook’s chart performance. As of this writing, on iTunes, “Light On” is down, relatively, once again. But that will likely all change in the last 24 hours of the tracking week, after Cook performs the song on a Saturday Night Live episode featuring an appearance by John McCain. A sales boost is inevitable, and the only question is how big that one day will be. SNL has already worked wonders for British singer Adele, who makes her Hot 100 debut this week with “Chasing Pavements” at No. 82, after her performance on the show’s highly-rated episode featuring Sarah Palin. With 25,000 downloads, she’s up 73% over the prior week—but this is actually her second chart week after the SNL performance; one day of sales in the prior chart week did give her a massive sales boost, but not enough to make the big chart immediately.

Bottom line: expect a bit of a pop for Cook next week and maybe a bigger boost the week after—which will help his promotional team get what they really need: the attention of thus far uninterested radio programmers.

• Only one song, Brad Paisley’s former No. 1 “Waitin’ on a Woman,” dropped out of the Country Top 10 this week, and it’s replaced by a new song from… Brad Paisley. “Start a Band,” a duet with Keith Urban, is the leadoff single from Paisley’s forthcoming album and 2008 Worst Album Cover Of The Year contender Play. You have to admire the guy’s consistency: he pumped four Country No. 1 singles from 2007 Worst Cover nominee 5th Gear; he re-released the album (booooo!) with new songs on it, including the aforementioned “Waitin’…,” scoring a fifth consecutive No. 1; and now he moves back into the winners’ circle the very week the previous hit falls out. Unlike slugger Kenny Chesney, who dominated radio last week with six hits from his new album, Paisley is Country’s Joe DiMaggio, batting for a single each time he steps to the plate.

• In a horrible real-world week for Jennifer Hudson, the parallel world of the charts is also a little unkind, as “Spotlight” falls out of the R&B/Hip-Hop chart’s top spot after two weeks there. I would surmise that the gentle, midtempo song is becoming somewhat inadequate radio programming compared with the magnitude of her family tragedy. No word on whether or if Arista will promote a followup single from Hudson’s album, and it’s hard to speculate how her personal travails will affect her radio profile over the next few weeks. The death of a star herself has given chart boosts to the likes of Aaliyah, but Hudson’s sympathy-inspiring situation is rather different.

Forgetting all this awfulness for a moment, the one nice thing about the turnover in the R&B chart’s top spot is who takes over: Ne-Yo, with the utterly superb single “Miss Independent.” Amazingly, this is his first chart-topper there, about two and a half years after he first reached No. 1 on the Hot 100 with “So Sick.”

Top 10s
Last week's position and total weeks charted in parentheses (Digital Songs chart includes total downloads/percentage change in parentheses):

Hot 100
1. T.I., "Whatever You Like" (LW No. 1, 12 weeks)
2. T.I. feat. Rihanna, "Live Your Life" (LW No. 2, 5 weeks)
3. Beyoncé, "If I Were a Boy" (LW No. 68, 3 weeks)
4. Pink, "So What" (LW No. 3, 10 weeks)
5. Britney Spears, "Womanizer" (LW No. 4, 4 weeks)
6. Katy Perry, "Hot N Cold" (LW No. 5, 13 weeks)
7. Kevin Rudolf feat. Lil Wayne, "Let It Rock" (LW No. 7, 9 weeks)
8. Ne-Yo, "Miss Independent" (LW No. 8, 10 weeks)
9. Rihanna, "Disturbia" (LW No. 6, 19 weeks)
10. Jason Mraz, "I’m Yours" (LW No. 13, 28 weeks)

Hot Digital Songs
1. Beyoncé, "If I Were a Boy" (CHART DEBUT, 190,000 downloads)
2. Britney Spears, "Womanizer" (LW No. 1, 181,000 downloads)
3. T.I. feat. Rihanna, "Live Your Life" (LW No. 2, 180,000 downloads)
4. Kevin Rudolf feat. Lil Wayne, "Let It Rock" (LW No. 7, 142,000 downloads)
5. Katy Perry, "Hot N Cold" (LW No. 6, 137,000 downloads)
6. T.I., "Whatever You Like" (LW No. 4, 137,000 downloads)
7. Pink, "So What" (LW No. 5, 133,000 downloads)
8. Kanye West, "Love Lockdown" (LW No. 8, 96,000 downloads)
9. Jason Mraz, "I’m Yours" (LW No. 12, 96,000 downloads)
10. Taylor Swift, "Love Story" (LW No. 9, 88,000 downloads)

Hot R&B/Hip-Hop Songs
1. Ne-Yo, "Miss Independent" (LW No. 2, 14 weeks)
2. Jennifer Hudson, "Spotlight" (LW No. 1, 24 weeks)
3. T.I., "Whatever You Like" (LW No. 3, 15 weeks)
4. T-Pain feat. Lil Wayne, "Can't Believe It," (LW No. 4, 16 weeks)
5. Lil Wayne feat. Bobby Valentino, "Mrs. Officer" (LW No. 6, 17 weeks)
6. Jazmine Sullivan, "Need U Bad" (LW No. 5, 26 weeks)
7. T.I. feat. Rihanna, "Live Your Life" (LW No. 7, 7 weeks)
8. Beyoncé, "Single Ladies (Put a Ring on It)" (LW No. 10, 3 weeks)
9. Jazmine Sullivan, "Bust Your Windows" (LW No. 8, 7 weeks)
10. Slim feat. Yung Joc, "So Fly" (LW No. 9, 21 weeks)

Hot Country Songs
1. Carrie Underwood, "Just a Dream" (LW No. 3, 16 weeks)
2. Toby Keith, "She Never Cried in Front of Me" (LW No. 1, 18 weeks)
3. Taylor Swift, "Love Story" (LW No. 4, 7 weeks)
4. Kenny Chesney, "Everybody Wants to Go to Heaven" (LW No. 2, 13 weeks)
5. Tim McGraw, "Let It Go" (LW No. 6, 15 weeks)
6. Zac Brown Band, "Chicken Fried" (LW No. 7, 19 weeks)
7. Darius Rucker, "Don't Think I Don't Think About It" (LW No. 5, 28 weeks)
8. Montgomery Gentry, "Roll with Me" (LW No. 9, 14 weeks)
9. Sugarland, "Already Gone" (LW No. 8, 9 weeks)
10. Brad Paisley with Keith Urban, "Start a Band" (LW No. 13, 20 weeks)

Hot Modern Rock Tracks
1. The Offspring, "You're Gonna Go Far, Kid" (LW No. 1, 14 weeks)
2. Weezer, "Troublemaker" (LW No. 2, 16 weeks)
3. Rise Against, "Re-Education (Through Labor)" (LW No. 3, 10 weeks)
4. Apocalyptica feat. Adam Gontier, "I Don't Care" (LW No. 4, 17 weeks)
5. Kings of Leon, "Sex on Fire" (LW No. 5, 10 weeks)
6. The Killers, "Human" (LW No. 6, 5 weeks)
7. Metallica, "The Day That Never Comes" (LW No. 8, 10 weeks)
8. Staind, "Believe" (LW No. 7, 18 weeks)
9. Theory of a Deadman, "Bad Girlfriend" (LW No. 9, 19 weeks)
10. Nickelback, "Gotta Be Somebody" (LW No. 10, 4 weeks)

That starts at the top, where Pink, a nearly decade-long veteran of the chart wars, scores her first solo No. 1 (and second overall), “So What.” And she does it with the largest one-week digital sales total we’ve seen since the beginning of summer.

A few rungs down, U.K. chanteuse and Atlantic Records guinea pig Estelle stages a massive comeback. Her return to iTunes fuels a 44-space move by her Kanye West–supported single “American Boy,” to a new peak of No. 9. Not a moment too soon: one week before the official start of fall in the United States, and a month after it appeared to have peaked at No. 11, our runner-up in the Idolator 2008 Summer Jam competition is finally an official U.S. Top 10 hit. Revenge is sweet.

Pink’s bratty rock/pop stomper has been an iTunes monster since its mid-August release, instantly ranking among the best-selling digital singles and growing each week since. In the latest tracking week, “So What” moved nearly 253,000 downloads, the biggest pulldown since Coldplay’s “Viva la Vida” posted a couple of weeks at that sales level in mid-June.

The song was already a smash by Labor Day, but Pink’s pyrotechnic performance of it 12 days ago on MTV’s Video Music Awards—which affects this week’s charts—clearly didn’t hurt and probably explains the song’s 28% sales boost. With numbers like that, “So What” doesn’t need much airplay to command the Hot 100, and indeed it ranks only 30th among all airplay hits—but it’s rising fast: it ranked 45th the week before.

Pink’s ascension into the penthouse is either her debut there or a return, depending on how much you credit the verse she belted on 2001’s multi-diva pileup “Lady Marmalade” with Christina Aguilera, Mya and Lil’ Kim. More notably, her first solo appearance at No. 1 completes a gradual, two-year comeback made necessary by the epic flop of her 2003 album Try This, the aberration in her otherwise charmed pop career. Beginning with her defiantly titled 2006 album I’m Not Dead, Pink gradually returned to the winners’ circle with two leisurely-building 2007 singles, “U + Ur Hand” and “Who Knew.” It’s an old chart story when a followup to a slow-growing, modest hit (or two, in this case) reaps the benefit of enhanced audience awareness, and that appears to be exactly what’s going on here.

“So What” will likely have a decent stay on top, so long as its sales stay strong and its airplay keeps growing. Over on iTunes, as of this writing, it’s locked in a battle for No. 1 with another song performed at the VMAs, Kanye West’s “Love Lockdown.” Even if West ends up prevailing—and that feels optimistic—it’ll take him at least a couple of weeks to do so on the big chart, since his sales for the next tracking week will only cover a couple of days. For now, I’d bet on the lady.

Speaking of which, what more can I say about Estelle’s chart comeback that we haven’t already covered thoroughly in the past few weeks? One week after Atlantic suspended its post–Kid Rock experiment and returned Shine and “American Boy” to iTunes, we see what folly the entire concept of pulling a developing act's music from the nation's largest music retailer really was.

Let’s just look at the data. With only half a week back on iTunes during Billboard’s most recent tracking period, Estelle sold more than 90,000 downloads, which as far I can tell is her best weekly total so far. True, if she’d been on iTunes these last three weeks, some of those sales might have been spread out a bit, over multiple chart weeks (although I remain convinced that in our instant-gratification economy, a lost iTunes sale a couple of weeks ago wouldn’t have “come back” later). In any case, “Boy” probably would’ve broken into the Hot 100’s Top 10 a week or two sooner than it did, thanks to airplay, which continues to grow: it's now the 19th-most-played song nationwide, up from 25th the week Atlantic deleted the single.

Meanwhile, over on the album chart, sales of Shine actually increase this week, up 22% to 6,400 copies. It appears that most of the album-sales uptick is also attributable to iTunes, as Shine sold more than 1,900 digital albums last week—a roughly fourfold increase from the prior week, when Estelle sold fewer than 400 albums at digital retailers like Amazon.

But the bigger, clearer story is this: developing acts need singles, which means they need iTunes, full stop. Availability means publicity: it appears that Estelle’s presence on iTunes doesn’t so much “cannibalize” what would have been an album sale, as give the public the heads-up that she exists.

And it bears repeating that what works for a rock act nearing his 40s who’s singing over a sample of Lynyrd Skynyrd probably isn’t going to work with a London ingénue relying mostly on Top 40 radio. I know hindsight is 20/20 and all, but doesn’t that seem obvious?

Here's a rundown of the rest of this week's charts:

• Because I covered a special topic in my previous column, I neglected a rare feat on last week’s Hot Country chart. (No, not the rise of Darius “Hootie” Rucker into the Top Three; if the twangy brother makes it all the way to No. 1 in the next couple of weeks, we’ll be talking about him plenty.)

The feat was by the unassuming Brad Paisley, who’s never had the media profile of a Garth Brooks or even a Kenny Chesney but did something two decades of hat acts haven’t done: pulled five No. 1 Country hits from a single album. With the rise last week of “Waitin’ on a Woman” (it’s back down to No. 2 this week), Paisley scored the fifth chart-topper from his latest album, the former Idolator Worst Cover Art quarter-finalist 5th Gear. The run started in June 2007, with his charming and actually pretty great hit “Ticks.” According to Billboard chart guru Fred Bronson, Paisley is the first to pull off this feat since the pre-Garth era, when Rodney Crowell pulled five bell-ringers from his 1989 disc Diamonds and Dust. Also, if you don’t count a few short-lived Christmas tracks Paisley released last December, this is his eighth straight No. 1, the longest stretch of chart-toppers since Dan Seals pulled nine between 1985 and 1989.

In part, Paisley achieves these feats because he isn’t a country superstar: he and his label, Arista, release one single to radio at a time, wait for it to climb the chart and peak, then release the next. By contrast, megastars like Brooks or Chesney or Tim McGraw, upon the release of an album, see country radio jump on multiple songs at once; while one of those is likely to top the charts, another two or three typically end up somewhere down below. Nonetheless, radio clearly loves Paisley, and at this point it’s fair to consider him, if not a country A-lister, then maybe an A-minuser.

• In this year of impressive chart feats by Lil Wayne, he enjoys another boomlet of Hot 100 success, as three singles featuring his name enter the Top 10 simultaneously.

The biggest bang comes from “Swagga Like Us,” the umpteenth comeback single by his former Island Def Jam boss, Jay-Z. “Swagga,” which sports guest rhyming by Weezy and fellow Universal employee Kanye West, debuts all the way up at No. 5, matching Jonas Brothers’ “Burnin’ Up” for the highest debut in 2008 by a non–American Idol finalist. (Under a blue moon on a Tuesday; kidding!) Weezy also supplies supporting lines to T-Pain, whose “Can’t Believe It,” the advance single from his forthcoming third album, rises to No. 8 in its seventh week. Sounds like a favor payback, because Pain supplied hooks to Wayne’s “Got Money” last spring—and that song finally breaks into the Top 10. That’s four months after “Got” debuted at No. 13 and then spent the summer knocking around the middle rungs of the Top 40.

Overall, Wayne continues his Hot 100 omnipresence, credited on nine currently charting hits, between featured appearances (four) and leads (five). On the Hot R&B/Hip-Hop chart, he’s even more dominant, popping up 11 times.

• Speaking of R&B crossover, it appears to be helping the act that sneaks up one spot to No. 4 on the Hot 100 this week: M.I.A., whose “Paper Planes” reaches a new peak, nearly two months after trailers for Pineapple Express made it a hit. “Planes” debuts on Hot R&B/Hip-Hop at No. 96, which is not earth-shattering but indicates that the song has gotten big enough to catch the ear of programmers at a different radio format. (While this might qualify as a reverse crossover, ironically, prior to this summer, the R&B chart was the only major U.S. song chart M.I.A. had ever appeared on, with a guest credit on Jamesy P's No. 54 hit "Nookie" in 2005.)

One final note on M.I.A.’s unlikely multiformat appeal: the campaign to make her the first solo woman in the Modern Rock Top 10 since the late ’90s isn’t over yet. “Planes” creeps up two more notches to No. 12 at the Angry White Boy format. She’s just a puff away from the winner’s circle, if only dying singles from Weezer and Disturbed at Nos. 10 and 11 would stand aside.

Top 10s
Last week's position and total weeks charted in parentheses (Digital Songs chart includes total downloads/percentage change in parentheses):

Hot 100
1. Pink, "So What" (LW No. 2, 4 weeks)
2. T.I., "Whatever You Like" (LW No. 1, 6 weeks)
3. Rihanna, "Disturbia" (LW No. 3, 13 weeks)
4. M.I.A., "Paper Planes" (LW No. 5, 9 weeks)
5. Jay-Z & T.I. feat. Kanye West & Lil Wayne, "Swagga Like Us" (CHART DEBUT)
6. Chris Brown, "Forever" (LW No. 4, 21 weeks)
7. Ne-Yo, "Closer" (LW No. 8, 22 weeks)
8. T-Pain feat. Lil Wayne, "Can't Believe It" (LW No. 12, 7 weeks)
9. Estelle feat. Kanye West, "American Boy" (LW No. 53, 22 weeks)
10. Lil Wayne feat. T-Pain, "Got Money" (LW No. 15, 16 weeks)

Hot Digital Songs
1. Pink, "So What" (LW No. 1, 253,000 downloads)
2. T.I., "Whatever You Like" (LW No. 2, 177,000 downloads)
3. Rihanna, "Disturbia" (LW No. 4, 138,000 downloads)
4. Jay-Z & T.I. feat. Kanye West & Lil Wayne, "Swagga Like Us" (CHART DEBUT, 132,000 downloads)
5. M.I.A., "Paper Planes" (LW No. 5, 107,000 downloads)
6. Katy Perry, "Hot N Cold" (LW No. 8, 102,000 downloads)
7. Jason Mraz, "I’m Yours" (LW No. 3, 102,000 downloads)
8. Taylor Swift, "Love Story" (CHART DEBUT, 97,000 downloads)
9. Estelle feat. Kanye West, "American Boy" (RE-ENTRY, 90,000 downloads)
10. Fall Out Boy, "I Don't Care" (CHART DEBUT, 89,000 downloads)

Hot R&B/Hip-Hop Songs
1. Jazmine Sullivan, "Need U Bad" (LW No. 1, 20 weeks)
2. T.I., "Whatever You Like" (LW No. 2, 9 weeks)
3. Jennifer Hudson, "Spotlight" (LW No. 3, 18 weeks)
4. T-Pain feat. Lil Wayne, "Can't Believe It," (LW No. 4, 10 weeks)
5. Ne-Yo, "Miss Independent" (LW No. 9, 8 weeks)
6. Lil Wayne feat. Bobby Valentino, "Mrs. Officer" (LW No. 6, 11 weeks)
7. Robin Thicke, "Magic" (LW No. 8, 17 weeks)
8. Young Jeezy feat. Kanye West, "Put On" (LW No. 5, 19 weeks)
9. Keyshia Cole, "Heaven Sent" (LW No. 10, 25 weeks)
10. Yung Berg feat. Casha, "The Business" (LW No. 11, 17 weeks)

Hot Country Songs
1. Jimmy Wayne, "Do You Believe Me Now" (LW No. 2, 25 weeks)
2. Brad Paisley, "Waitin' on a Woman" (LW No. 1, 14 weeks)
3. Darius Rucker, "Don't Think I Don't Think About It" (LW No. 3, 22 weeks)
4. Kenny Chesney, "Everybody Wants to Go to Heaven" (LW No. 5, 7 weeks)
5. Kid Rock, "All Summer Long" (LW No. 6, 18 weeks)
6. Toby Keith, "She Never Cried in Front of Me" (LW No. 8, 12 weeks)
7. George Strait, "Troubadour" (LW No. 9, 16 weeks)
8. Carrie Underwood, "Just a Dream" (LW No. 11, 10 weeks)
9. Keith Urban, "You Look Good in My Shirt" (LW No. 4, 17 weeks)
10. The Lost Trailers, "Holler Back" (LW No. 10, 30 weeks)

Hot Modern Rock Tracks
1. Staind, "Believe" (LW No. 1, 12 weeks)
2. The Offspring, "You're Gonna Go Far, Kid" (LW No. 6, 8 weeks)
3. Foo Fighters, "Let It Die" (LW No. 2, 24 weeks)
4. Weezer, "Troublemaker" (LW No. 5, 10 weeks)
5. Carolina Liar, "I’m Not Over" (LW No. 3, 20 weeks)
6. Coldplay, "Viva la Vida" (LW No. 4, 15 weeks)
7. Metallica, "The Day That Never Comes" (LW No. 7, 4 weeks)
8. Rise Against, "Re-Education (Through Labor)" (LW No. 13, 4 weeks)
9. Apocalyptica feat. Adam Gontier, "I Don't Care" (LW No. 12, 11 weeks)
10. Weezer, "Pork & Beans" (LW No. 8, 22 weeks)

I know that Brad Paisley's forthcoming album Play is supposed to be mostly instrumental, but jeez, man, how is that guitar supposed to swing if there's nobody to give it that first push? Or is it just going to move through the power of those awful Technicolor outlines surrounding the type on the cover?

[HT brasstax]

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Brad Paisley Gets Animated [Great American Country]
Brad Paisley - "Online" [YouTube]

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