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Though he missed out on top spot, thanks to the juggernauts that are Taylor Swift and Oasis, Jung Kook stakes a claim to U.K. chart history with Golden (via BigHit Entertainment).
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The BTS star’s solo debut album bowed at No. 3 on the Official U.K. Albums Chart last Friday, Nov. 10, behind Taylor Swift’s 1989 (Taylor’s Version) (via EMI) and Oasis’ The Masterplan (Big Brother), respectively.
With that solid start, Golden becomes the highest-charting album by a Korean solo artist, including the cuts by his BTS bandmates, the Official Charts Company confirms.
Golden shines with four U.K. top 10 singles – “Seven” featuring Latto (No. 3 peak), “3D” with Jack Harlow (No. 5), “Too Much” with The Kid Laroi and Central Cee (No. 10) and the latest release, “Standing Next to You,” which opens its account at No. 6 on the national singles chart, also published Friday.
That’s four U.K. top tier tracks in just four months, extending Jung Kook’s record as the Korean solo artist with the most U.K. top 10 singles.
As a member of the all-conquering BTS, Jung Kook has five U.K. top 10 albums, including two leaders (2019’s Map of the Soul: Persona and 2020’s Map of the Soul: 7), and four top 10 singles (2020’s “Dynamite” and “Life Goes On”; and 2021’s “Butter” and Coldplay collaboration “My Universe”).
Jung Kook goes one better on Australia’s albums chart, where Golden (via ING/Universal) drops in at No. 2, behind Swift’s latest release. That result matches the record for the highest solo debut LP from a Korean artist in the land Down Under, matching the effort from his BTS bandmate Suga (aka Agust D), who entered at No. 2 on the ARIA Chart with his 2000 D-2 mixtape.
As previously reported, “Standing Next to You” flies in at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. songs charts.
Despite a challenge from Oasis and BTS’ Jung Kook, Taylor Swift holds onto her U.K. chart crown for a second week with 1989 (Taylor’s Version) (via EMI).
The fourth in Swift’s re-recording projects, 1989 (Taylor’s Version) squeezes past Oasis’ The Masterplan (Big Brother), which enjoys a new chart life thanks to a 25th anniversary.
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Originally released in 1998, The Masterplan gathers b-sides from the Britpop era giants’ first three albums, 1994’s Definitely Maybe, 1995’s (What’s The Story) Morning Glory? and 1997’s Be Here Now, and is led-off by “Acquiesce,” a quintessential fan favorite.
The leader at the midweek point, The Masterplan re-enters the chart at No. 2, its original peak position following its release in 1998. It’s the U.K.’s best-seller on wax during the latest chart cycle.
The top new release on the fresh chart, published Friday, Nov. 10 is Jung Kook’s Golden (BigHit Entertainment), which completes the podium at No. 3. Golden becomes the highest-peaking album from a member of BTS, and the best chart position for a solo Korean artist, the Official Charts Company confirms. Album track “Standing Next to You” bows at No. 6 on the national singles chart, his fourth U.K. top 10 this year.
Meanwhile, legendary English pop artist Cliff Richard snags his 48th U.K. top 10 album with Cliff With Strings – My Kinda Life (EastWest/Rhino), new at No. 5, ahead of Johnny Marr’s Spirit Power: The Best Of Johnny Marr (BMG), debuting at No. 7, marking the ex-Smiths guitarist’s fifth solo U.K. top 10 appearance.
It’s Beatlemania once again on the U.K. Singles Chart as “Now And Then” (Apple Corps) powers to No. 1. As fans of the Fab Four feel the rush of nostalgia, the 2000 career retrospective 1 returns to the top 40 at No. 21. The album has logged 444 weeks on the tally, including one week at No. 1 back in 2000.
Finally, titles from Gregory Porter (Christmas Wish at No. 14 via Decca), Caroline Polachek (Desire I Want To Turn Into You at No. 23 via Perpetual Novice) and Van Morrison (Accentuate The Positive at No. 39 via Exile) enter the top 40 for the first time.
It’s Taylor Swift‘s week, again, on Australia‘s charts as Jung Kook arrives at No. 2 with Golden (via ING/Universal), the BTS star’s debut solo album.
That result matches the record for the highest solo debut LP from a Korean artist in Australia, equaling the effort from his BTS bandmate Suga (aka Agust D), who started at No. 2 on the ARIA Chart with his D-2 mixtape in 2020.
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Golden carries previously-released collaborations with 3D and Seven and the new single “Standing Next To You,” new at No. 33 on the latest ARIA Chart.
As a member of BTS, Jung Kook has led the ARIA Albums Chart on three occasions: with Map Of The Soul: Persona (from 2019), Map Of The Soul: 7 (2020) and Proof (2022).
At the top of the ARIA Albums Chart, published Friday, Nov. 10 is Taylor Swift’s 1989 (Taylor’s Version) (via Universal), now entering its second consecutive week at No. 1.
Completing the top 3 on the national albums tally is another Swift hit, Midnights, up lifts 4-3 in its 55th week. There’s no denying her domination of the charts, as Swift logs five of the top 10 albums and nine of the top 40. Over on the singles survey, Swift’s “Is It Over Now? (Taylor’s Version) (From The Vault)” is unmoved from No. 1. According to ARIA, the U.S. pop superstar has accumulated 24 total weeks at No. 1, across 10 songs, starting with 2008’s “Love Story”.
Swift will perform seven dates across two Australian cities early next year on the Australian leg of her The Eras Tour, produced by Frontier Touring.
Finally, the “last” Beatles song “Now And Then” (Capitol/Universal) debuts at No. 6 on the ARIA Singles Chart.
The track began life as a demo written and sung by John Lennon, was later developed and worked on by Paul McCartney, George Harrison and Ringo Starr, and now completed by Paul and Ringo (and some help from artificial intelligence), more than 40 years after the group began work on it.
A rough mix for “Now And Then” was recorded with producer Jeff Lynne back in 1994, but was ultimately shelved because Lennon’s vocals and piano couldn’t be uncoupled from the recording. Two unearthed demos were completed at the time and released as part of the Beatles’ Anthology project, “Free As A Bird” and “Real Love.” The second of those, “Real Love,” hit No. 6 back in 1996, and was the Beatles’ last top 50 single in Australia until now, ARIA reports.
The Beatles have 26 No. 1s in Australia, from 1962 to 1970 when the Fab Four officially split (that run includes a stretch of 14 consecutive leaders from 1966-1970). Elvis Presley is second on the all-time list of leaders with 14.
The Beatles also own the record for most weeks at No. 1 on the ARIA Singles Chart, at 130 weeks.
Victoria Monet achieves her first No. 1 on a Billboard songs chart as “On My Mama” rules the Mainstream R&B/Hip-Hop Airplay survey dated Nov. 18. The single advances from No. 3 after a 10% jump in plays made it the most-played song on U.S. monitored R&B/hip-hop radio stations in the week ending Nov. 9, according to Luminate.
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The song’s coronation adds to a special day for “On My Mama” news: On Friday (Nov. 10), “Mama” received 2024 Grammy Awards nominations for record of the year and best R&B song, two of Monet’s seven total nods.
Elsewhere, “On My Mama” nears the top 10 on Adult R&B Airplay with a 15-11 jump and 19% surge in weekly plays. Thanks to strong performance at both the mainstream and adult formats, the Grammy contender retains its No. 4 high on the R&B/Hip-Hop Airplay list, which ranks songs by combined audience totals from mainstream R&B/hip-hop and adult R&B stations. There, “On My Mama” improves 10% in weekly audience to reach 16.5 million impressions. Another top 10 status may be on the horizon, with “On My Mama” lifting 13-11 on Rhythmic Airplay through a 17% weekly play boost at the format.
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With its radio success, “On My Mama” has improved on the chart fortunes of its origin song, Chalie Boy’s “I Look Good.” The Southern rap hit, which is sampled in Monae’s tune, reached No. 20 on R&B/Hip-Hop Airplay and No. 40 on Rhythmic Airplay in 2009. Thanks to the sample, Charlie Boy earns a Grammy nomination in the best R&B song category, which is awarded to a track’s songwriters.
While “On My Mama” is Monet’s first No. 1 Billboard song as a performer, she’s become very familiar with the top spot as a songwriter, often through her work on tracks recorded by Ariana Grande. Among the highlights, Monet has co-writing credits on two Billboard Hot 100 No. 1 hits, Grande’s “Thank U, Next” and “7 Rings,” which ruled the chart for seven and eight weeks, respectively, in 2018-19.
“On My Mama” appears on Victoria Monet’s 2022 studio album, Jaguar II. The set, released in August, has peaked at No. 6 on the Top R&B Albums chart.
The Beatles’ “last” song “Now And Then” is on track for the U.K. chart title.
Based on sales and streaming data captured from the first 48 hours in the chart week, “Now And Then” is in pole position, outselling the rest of the top 5 combined, the Official Charts Company reports.
If it holds its spot, “Now And Then” will become the Fab Four’s 18th U.K. chart-leader, and their first in 54 years, since “The Ballad of John and Yoko” topped the weekly tally back in 1969.
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“Now And Then” actually debuted at No. 42 in the U.K. last week based on just 10 hours of sales, but is now expected to jump 41 places to the top of the Official Singles Chart when chart is published this Friday, Nov. 10.
The crown would cap a remarkable journey for “Now And Then.” The track began life as a demo written and sung by John Lennon, was later developed and worked on by Paul McCartney, George Harrison and Ringo Starr, and now completed by Paul and Ringo, the surviving members of The Beatles, more than 40 years after the group began work on it.
The late Lennon’s vocals and piano part were recorded to tape at New York’s Dakota Building in the 1970s, and remained there until film director Peter Jackson and his team at WingNut Films developed the MAL audio technology, powered by AI, which could separate the stems. The result is a lush production, with a string arrangement, written by Giles Martin, Paul and Ben Foster, and featuring contributions from all four Beatles.
On the day of its release last Thursday (Nov. 2), “Now And Then” was named as BBC Radio 1’s Hottest Record. The song is all-love, McCartney told Radio 1’s Clara Amfo. “Just a loving feeling,” he says of the recording, “because that’s often what we were trying to do with our records, we were trying to spread love. And in this one it is very poignant. It’s John talking about ‘I miss you’ and stuff like that so, I think emotion, that would be the key word for people to take away from it, ‘emotion’.”
Jackson helmed the official music video for “Now And Then,” which dropped last Friday.
The closest competition on the First Look chart, according to the Official Charts Company, is BTS star Jung Kook’s “Standing Next To You,” which is eyeing a No. 2 start. That would be the K-pop artist’s highest peak of his solo career in the U.K. Jung Kook has three U.K. top 10s to his name, with a best of No. 3 for 2023’s “Seven” featuring Latto.
Taylor Swift buries her rivals under a mountain of sales and streams in the U.K. as 1989 (Taylor’s Version) debuts at No. 1.
Swift’s latest release, the fourth of her six recording projects, clocks up a “massive” 184,000 chart units, the Official Charts Company reports, more than double that of the original 1989’s opening-week sales of 90,000, accumulated following its release in 2014.
That opening result crushes the previous record holder for 2023, Lewis Capaldi’s Broken By Desire to Be Heavenly Sent, which scored 95,000 chart units in its week one.
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The runaway leader at the midweek stage, 1989 (Taylor’s Version) outperforms the rest of the top 10 combined during the latest cycle, and is the fastest-selling vinyl release of the year, with 62,000 copies sold, according to the OCC.
It’s Swift’s 11th chart-topping U.K. album, extending her own record as the woman with the most U.K. leaders this century, and the female artist with the 11 consecutive No. 1 albums in the briefest timeframe, at 11 years.
Among female artists, only Madonna has more — with 12. It’s only a matter of time before TayTay catches up with the Queen of Pop.
With Swift’s “Vault” cut “Is It Over Now? (Taylor’s Version) reigning over the national singles survey, TayTay collects another chart double.
It’s by no means the only new release to make its impact felt on the latest albums tally. Veteran electronic act Orchestral Manoeuvres in the Dark snag a highest-charting studio album across a career spanning 45 years, with Bauhaus Staircase (100 Percent Records), new at No. 2. That equals the peak position of OMD’s 1988 hits compilation The Best of OMD, one of their eight U.K. top 10s.
Rolling Stones’ latest leader Hackney Diamonds (Polydor) drops 1-3, while Rock And Roll Hall of Fame inducted pop-rock band Duran Duran earn a 12th U.K. 10 with Danse Macabre (BMG), their Halloween-themed 16th studio album.
Also new to the top 10 are albums from James Blunt (Who We Used to Be at No. 5 via Atlantic), CASISDEAD (Famous Last Words at No. 7 via XL Recordings) and Alfie Boe (Open Arms – The Symphonic Songbook this week at No. 10 via BMG).
Taylor Swift is having her way on the U.K. charts, as “Is It Over Now? (Taylor’s Version)” bows at No. 1 on the national singles survey, and its parent LP arrives at the summit of the albums chart.
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“Is It Over Now? (Taylor’s Version)” starts atop the Official U.K. Singles Chart, published Friday, Nov. 3, with a market-leading 4.9 million streams, the Official Charts Company reports.
Swift now boasts three career chart leaders in the U.K., a list that includes a “Look What You Made Me Do” (in 2017) and “Anti-Hero” (2022).
“Is It Over Now? (Taylor’s Version) is one of three new TayTay tracks from the “Vault” which crash the top 10, as “Now That We Don’t Talk (Taylor’s Version)” starts at No. 2 and “Slut!” (Taylor’s Version) bows at No. 5.
The top five is completed by Casso, Raye, D-Block Europe’s “Prada” (down 2-3 via Ministry of Sound) and Kenya Grace’s “Strangers” (down 1-4 via FFRR).
Halloween is done and dusted for 2023, but the spooky celebration makes its impact felt on the U.K. singles survey. Danny Elfman’s “This is Halloween” (No. 14 via Walt Disney) from The Nightmare Before Christmas, Michael Jackson’s “Thriller” (No. 20 via Epic), Ray Parker Jr.’s “Ghostbusters” (No. 21 via Arista) and Bobby “Boris” Pickett’s “Monster Mash” (No. 29 via TheMonsterMash.com) all power into the top 40 on the latest tally.
Meanwhile, there’s new chart peaks for Drake, Sexyy Red and SZA’s “Rich Baby Daddy” (up 17-15 via OVO/Republic Records), Chase & Status, Hedex and ArrDee’s “Liqour & Cigarettes” (up 20-18 via EMI), Doja Cat’s “Agora Hills” (up 28-26 via Ministry of Sound), and Tems’ “Me & U” (up 36-34 via Since 93/RCA).
Further down the list, Wheatus’s breakthrough number “Teenage Dirtbag” (Columbia) reenters the U.K. Top 40 at No. 38, for its first top flight appearance since 2001. “Teenage Dirtbag” peaked at No. 2 that year.
It’s Taylor Swift week on Australia’s charts, as the U.S. pop star completes a double and floods the top deck of the national singles tally.
As expected, 1989 (Taylor’s Version) (via Universal) flies to No. 1 on the ARIA Albums Chart, published Friday, Nov. 3, for Swift’s 12th career leader in the land Down Under, while “Is It Over Now?” debuts at the pinnacle of the singles survey.
Remarkably, 1989 (Taylor’s Version) is her third No. 1 for 2023, following Midnights, which reigned for seven non-consecutive weeks earlier this year (after clocking seven weeks at the top in 2022) and Speak Now (Taylor’s Version), which checked-in at the penthouse for two weeks in July.
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Although ARIA doesn’t publish the combined sales, the trade body reports 1989 (Taylor’s Version) accumulates the biggest sales week ever for Swift on the ARIA Albums Chart, the top opening week for any new album since 2017, and a record-setting first week for a vinyl album.
All four of Swift’s rerecorded LPs have led the national chart. Two more are to come.
With her latest feat, Taylor levels-up with Madonna in third place on the all-time list of acts with the most No. 1 albums in Australia. Jimmy Barnes leads that list with 15 as a solo act (he had another five with Cold Chisel), with the Beatles in second place with 14.
TayTay’s 12 leaders include the original version of 1989, which reigned for four weeks in 2014 and another five weeks in 2015.
With its fast debut, “Is It Over Now? (Taylor’s Version) (From The Vault)” becomes Swift’s 10th No. 1 on the ARIA Singles Chart, a list that’s dominated by tracks from the new album. Eight of the top 10 are from Swift, including a top four sweep.
Swift will repay her fans in February 2024 when she plays seven stadium shows in Australia, on her The Eras Tour, produced by Frontier Touring (three at the Melbourne Cricket Ground, four at Sydney’s Accor Stadium).
Across her career, the pop star has spent 23 weeks at No. 1 on the ARIA Singles Chart, the trade body reports, drawing level with “You’re The Voice” singer John Farnham.
The Beatles lead that list, with 130 weeks, ahead of Elvis Presley (61 weeks) and Justin Bieber (48 weeks). With “Now And Then,” which arrived Thursday, Nov. 2, the Beatles could extend that lead when the next chart is published.
Meanwhile, prolific Australian alternative rock act King Gizzard & The Lizard Wizard earn their second top 10 of the year with The Silver Cord (KGLW/Universal), new at No. 5 on the ARIA Albums Chart. King Gizzard are nominated for four categories in the 2023 ARIA Awards, set for Nov. 15 in Sydney.
Close behind is Australian singer and songwriter Angie McMahon’s Light, Dark, Light Again (AWAL). It’s new at No. 6. Light, Dark, Light Again is McMahon’s second album, and the followup to Salt, which peaked at No. 5 in 2019. McMahon was Billboard’s Indie Artist of the Month for October.
Paul Russell’s “Lil Boo Thang” jumps into the top 10 of Billboard’s Hot Rap Songs chart with a 12-9 climb on the list dated Nov. 4. The pop-rap tune, which first went viral on TikTok and other social media networks, continues its chart ascent with gains in all three chart metrics – streaming, radio airplay, and sales – and sprints into the top 40 of the Billboard Hot 100.
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During the latest tracking week, Oct. 20 – 26, “Lil Boo Thang,” released on Arista Records, generated 6.7 million official U.S. streams, a 14% improvement from the prior week, according to Luminate. It also sold 5,000 downloads in the same period, up 8% from the previous week and retains its crown on the Rap Digital Song Sales chart for third, nonconsecutive week. Among all tracks, it’s the third-best seller and sits at No. 3 on the Digital Song Sales chart, down one spot from its No. 2 best last week. In the radio world, “Lil Boo Thang” registered 28.4 million in weekly audience, up 18% from the prior frame. Thanks to that haul, it steps 24-21 on the all-genre Radio Songs chart.
Pop radio has been the single’s biggest supporter, as it pushes 15-13 on the Pop Airplay chart, following a 16% increase in plays at mainstream top-40 radio during the latest tracking week. The adult pop sector follows closely behind, with a 19-15 advance on the heels of a 26% surge in weekly plays, enough to nab “Lil Boo Thang” the chart’s weekly Greatest Gainer tag. Beyond the pop world, the rhythmic format has also embraced the track, which moves 20-17 on the Rhythmic Airplay chart through a 15% weekly play boost.
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Across-the-board gains drive “Lil Boo Thang” 58-35 on the Hot 100 and secure Paul Russell’s first top 40 visit on the flagship chart. The rising hit already has a Hot 100 tie-in, sampling The Emotions’ “Best of My Love,” a five-week No. 1 from 1977. Thanks to use of the classic, writers Maurice White (of Earth, Wind & Fire) and Al McKay land another top 40 hit
As “Lil Boo Thang” races into the Hot 100’s top 40, Paul Russell lands a third week at No. 1 on Emerging Artists chart, which ranks the most popular developing artists each week using the same formula as the all-encompassing Billboard Artist 100. The Emerging Artists chart, however, excludes acts that have reached the top 25 on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre and/or consumption-based “Top” album genre charts.
Usher takes the throne on Billboard’s R&B/Hip-Hop Airplay chart for the first time since 2016 as his collaboration with Summer Walker and 21 Savage, “Good Good,” crowns the list dated Nov. 4.
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The single advances from No. 2 to become the most-heard song in combined audience for U.S. monitored adult and mainstream R&B/hip-hop stations despite a 2% drop to 20.2 million in listenership in the tracking week ending Oct. 26, according to Luminate.
“Good Good” gives Summer Walker her first R&B/Hip-Hop Airplay No. 1, after she previously managed a No. 6 best twice – with “Girls Need Love” featuring Drake in 2019 and “Playing Games” the following year. 21 Savage, meanwhile, bags his third champ, following his featured turn on Post Malone’s eight-week No. 1 “Rockstar” in 2017-18, and the two-week leader “Rich Flex” with Drake in January and February.
Thanks to the new champ, Usher collects his 16th No. 1 on R&B/Hip-Hop Airplay. Among all artists, he trails only Drake’s 29 leaders for the most since the chart began in 1992. Here’s an updated look at the leaderboard:
29, Drake16, Usher12, Lil Wayne10, Beyoncé10, Chris Brown8, Alicia Keys8, Jay-Z8, R. Kelly
Plus, as Usher first led on R&B/Hip-Hop Airplay with “You Make Me Wanna…” in September 1997, he rewrites the record for the longest span of No. 1s in the chart’s history, at 26 years and two months between his first and most recent champs. To recap the record run, here’s a full rundown of Usher’s sweet 16 champs on R&B/Hip-Hop Airplay:
Song Title, Artist (if other than Usher), Weeks at No. 1, Date Reached No. 1“You Make Me Wanna…,” 12, Sept. 6, 1997“Nice & Slow,” three, Jan. 24, 1998“U Got It Bad,” eight, Nov. 10, 2001“Yeah!,” featuring Lil Jon & Ludacris, seven, March 13, 2004“Burn,” four, June 5, 2004“Confessions Part II,” two, July 10, 2004“My Boo,” with Alicia Keys, four, Oct. 23, 2004“Lovers and Friends,” Lil Jon & The East Side Boyz featuring Usher & Ludacris, one, Feb. 26, 2005“Love in This Club,” featuring Young Jeezy, four, April 12, 2008“Papers,” two, Dec. 12, 2009“There Goes My Baby,” four, Aug. 14, 2010“Climax,” 11, April 28, 2012“Good Kisser,” one, July 19, 2014“New Flame,” Chris Brown featuring Usher & Rick Ross, four, Oct. 25, 2014“No Limit,” featuring Young Thug, Oct. 15, 2016“Good Good,” with Summer Walker and 21 Savage, one (to date), Nov. 4, 2023
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As “Good Good” rules the radio ranking, it evicts SZA’s “Snooze” from the summit after an 18-week domination, the second-longest run for a song by a woman in a lead role in the chart’s history. Further, “Good Good,” released and promoted by mega/gamma, ends a titanic command atop R&B/Hip-Hop Airplay for RCA Records, who held a 42-week monopoly on the list through the three most recent champs – SZA’s “Snooze,” Tems’ “Free Mind” and Chris Brown’s “Under the Influence.” The last non-RCA leader was Drake and 21 Savage’s “Rich Flex,” which wrapped a two-week stay on the chart dated Feb. 4.
Elsewhere, “Good Good” shores up its ranks on other airplay charts. The track repeats at its No. 2 high on Rhythmic Airplay, though it slid 4% in plays at the format in the last tracking week. The tune has crossed over to pop radio, with a 25-22 climb on the Pop Airplay chart following a 13% boost in plays at mainstream top-40 stations. With that influx reinforcing its dominant position at R&B/hip-hop radio, “Good Good” pushes 12-11 on the all-genre Radio Songs chart, with a 2% improvement to 43.2 million in audience in the latest tracking window.