Chart Beat
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Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late David Soul by looking at the TV star’s lone major U.S. hit as a recording artist: The ’70s soft-rock ballad “Don’t Give Up on Us.”
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“My name is David Soul and I want to be known for my music.”
The mid-to-late ’70s were a peak period for television’s impact on the Billboard charts. With primetime TV modernizing and diversifying under the influence of innovators like Norman Lear and Aaron Spelling, the biggest shows were crossing over into all parts of popular culture, with theme songs for such hit shows as Happy Days, Welcome Back Kotter and S.W.A.T. all becoming Billboard Hot 100 smashes. What’s more, the stars of the shows themselves were starting to launch pop careers: John Travolta, then best known as Kotter high-school lunk Vinnie Barbarino, had a top 10 single in 1976 with the soft ballad “Let Her In”; a few years later, actor David Naughton reached the top 5 with the discofied title theme to his starring vehicle Makin’ It.
David Soul, star of hit ’70s undercover-cop show Starsky & Hutch — he was Hutch — also benefited from the TV-pop boom of the times. But unlike the aforementioned actor-artists, Soul’s recording career wasn’t just some dalliance or cash-in on a popularity that had simply grown too big for a single medium: He had actually started out as a musician. Soul went the folkie route in the Midwest in the mid-’60s before trying to make it in New York by performing masked and billing himself as “The Covered Man,” finding some success as a guest on variety shows like The Merv Griffin Show, where he would regularly deliver that line up top about wanting to be recognized for his music. Once he revealed himself to be a handsome, blond young man, the novelty of his anonymous routine wore off — but he started attracting the attention of producers in film and TV, who cast him in small guest roles on Flipper, Star Trek, The Streets of San Francisco and more big shows of the late ’60s and ’70s.
His big break came with Starsky & Hutch in 1975, as the action drama won viewers over with its cool cars, hip style (at least by mid-’70s TV standards) and likeable characters. With the show a success and Soul a primetime heartthrob, he saw the opportunity to relaunch his music career — signing to Private Stock records, with promises that he’d be taken seriously as a musician. In 1976, he released his self-titled debut album, and in early 1977, its breakout ballad “Don’t Give Up on Us” started climbing the Hot 100, becoming Soul’s first hit single.
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But “Don’t Give Up on Us” wasn’t actually featured on initial pressings of David Soul. In fact, the dead-center top 40 love song doesn’t sound much like anything else on the album, which is much more in line with the acclaimed work of sardonic ’70s singer-songwriters like Randy Newman and Harry Nilsson — maybe with a bit of ’60s psych-pop mad geniuses like Brian Wilson and Syd Barrett thrown in — and even features a cover of Leonard Cohen’s signature ballad “Bird on a Wire.” But the album had received only limited release by the time Soul had recorded “Give Up,” and sensing hit potential, Private Stock quickly recalled and re-pressed the album to include the new song.
It’s not surprising that the label saw potential in the song, or that they were ultimately validated for doing so. “Give Up” was penned and co-produced by veteran hitmaker Tony Macauley, who helmed a number of major pop hits of the late ’60s and ’70s — even including two of the Billboard staff’s 500 Best Pop Songs of the Hot 100 era, The Foundations’ “Build Me Up Buttercup” and Edison Lighthouse’s “Love Grows (Where My Rosemary Goes).” “I talked to Tony from the stage of Starsky and Hutch,” Soul told Fred Bronson for The Billboard Book of Number 1 Hits of Macauley trying to sell him on meeting to record a couple songs. “I liked the way he talked to me on the phone so I just said, ‘Sure, come on over.’”
“Give Up” carries Macauley’s deft and delicate touch in its tender melody, with a satisfying and unpredictable chord structure and arrangement reminiscent of Burt Bacharach. The lyrics are mostly sappy and a little silly throughout (“Can’t we stay the way we are?/ The angel and the dreamer/ Who sometimes plays a fool”), but a mysterious bridge where Soul admits, “I really lost my head last night/ You’ve got a right to stop believing,” does introduce a little drama and complexity to the narrative. And the refrain, which weaponizes its title plea by putting it right at the top each time, gets its hooks in you from the very start — leading off the song and appearing consistently enough throughout it to never really let you go from there.
It’s never less than a professional pop production, and one that Soul himself is more than capable of selling with his lilting baritone — particularly when his voice gets double-tracked for some gorgeous self-harmonies on subsequent choruses — which grows just mighty enough to handle the money note on his climactic “We can still come through” insistence. It’s not the most demanding or challenging song, certainly, but it was a perfect fit on late-’70s AM radio, and a natural smash on the Hot 100 in the era of pillow-soft romantic-strife ballad No. 1s like Mary McGregor’s “Torn Between Two Lovers” and Chicago’s “If You Leave Me Now.”
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The song debuted at No. 74 on the Hot 100 dated Jan. 29, 1977, about two-thirds of the way through Starsky & Hutch‘s second season. A little less than three months later, it topped the listing dated Apr. 16, replacing ABBA’s “Dancing Queen” on top before giving way to Thelma Houston’s “Don’t Leave Me This Way” just a week later — with the dancefloor classics on both sides of its No. 1 run portending the complete disco takeover that would nearly consume the chart in the final years of the decade. The song also topped the Official Charts in the U.K., where Soul was even more of a teen idol, and began an impressive run of hits for the singer that also included a trio of top 10 hits from his sophomore album, 1977’s Playing to an Audience of One, led by a second No. 1 hit in the more prowling “Silver Lady.”
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But in the States, “Don’t Give Up on Us” was Soul’s lone visit to the top 40. No additional singles were pulled from David Soul, and while both “Lady” and the Manilow-esque “Going In With My Eyes Open” hit the Hot 100 from Audience of One, neither made it past the 50s. Soul got lost in the MOR shuffle of the late ’70s — it was probably never particularly natural terrain for the former folkie to begin with — and perhaps subsumed a little on radio by disco’s growing dominance. Starsky & Hutch only lasted another couple seasons, as ratings declined and co-star Paul Michael Glaser wanted off the show. By the ’80s, Soul was largely a Me Decade relic in the U.S., starring in a couple failed TV series (including an ill-fated small-screen adaptation of Casablanca) and eventually moving to the U.K. to successfully pursue theater work.
Becoming a ’70s pop one-hit wonder — especially with such a massive one hit — probably isn’t what Soul would have guessed would be his primary musical legacy when he was first starting out in the mid-’60s. But David Soul wanted to be remembered for his music, and if nothing else, “Don’t Give Up on Us” ensured that every obituary published about him in the past month had to get in at least one sentence in the lead paragraph about it.
It’s Noah Kahan season in the U.K., as the American singer songwriter looks set to extend his reign over the singles chart, and separately land the top debut.
The Vermont artist’s folky hit “Stick Season” (via Republic Records) appears set to capture a fourth consecutive chart crown. Based on midweek sales and streaming data published by the Official Charts Company, “Stick Season” mounts a lead of 7,000 chart units over its nearest rival.
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That rival is Sophie Ellis-Bextor’s “Murder on the Dancefloor” (Polydor), which keeps grooving thanks to its prominent sync in the black-as-coal drama Saltburn. Originally released back in 2001, “Murder on the Dancefloor” is forecast to rebound 3-2, to equal its best chart position.
Kahan should snag the week’s top debut with “Homesick,” his collaboration with British singer and songwriter Sam Fender. “Homesick,” a version of which appears on Kahan’s Stick Season album, is expected to give both artists their second U.K. top 10 single.
Meanwhile, Benson Boone, the U.S.-born singer, multi-instrumentalist and TikTok star, who was named as MTV’s Global PUSH Artist for October 2023, is on target for his first U.K. top 20 appearance with “Beautiful Things” (Warner Records). It’s new at No. 16 on the Official Chart Update. Previously, Boone nudged the chart at No. 46 with 2021’s “Ghost Town,” and cracked the top 40 for the first time with 2022’s “In The Stars,” peaking at No. 21.
Finally, Becky Hill and Sonny Fodera are eyeing a top 40 debut with their collaborative effort, “Never Be Alone” (Polydor). It’s new at No. 26 on the chart blast, and is set to give Hill, the English singer and songwriter, her 19th U.K. top 40 single, a tally that includes a No. 1 with Oliver Heldens on 2014’s “Gecko (Overdrive)”; and Fodera, the Australian DJ and producer, his second.
All will be revealed when the Official U.K. Singles Chart is published Friday, Jan. 26.
Green Day is bolting to the U.K. chart throne with Saviors (via Reprise), the U.S. pop-punk legends’ 14th studio album.
It’s not even close. Based on midweek sales and streaming data published by the Official Charts Company, Saviors is outselling the rest of the top 10 combined.
With Saviors, the Bay Area trio of Billie Joe Armstrong, Mike Dirnt and Tré Cool will notch a fifth U.K. crown, following American Idiot (2004), 21st Century Breakdown (2009), Revolution Road (2016) and Father of All… (2020), their most recent studio effort.
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For British fans, this could well be the summer of Green Day. The rockers’ The Saviors Tour of Europe kicks off late May, with a handful of U.K. dates locked in for June, including concerts at Manchester’s Old Trafford Stadium, Isle of Wight Festival, and London’s Wembley Stadium.
As previously reported, Green Day will play Dookie (celebrating its 30th anniversary) and American Idiot (for its 20th anniversary) in full at all shows.
In a distance second place on the midweek U.K. chart is Welsh pop-punk band Neck Deep’s eponymously titled fifth LP. Neck Deep (Hopeless) is set to become the Wrexham-formed five-piece’s fourth top 10 appearance, and career high on the albums chart, eclipsing the No. 4 best for 2017’s The Peace and the Panic and 2020’s All Distortions Are Intentional.
Completing an all-new, all-rock top three on the Official Chart Update is Saxon’s Hell Fire and Damnation (Militia Guard Music), the British heavy metal band’s 24th studio album. If it holds its course, Hell Fire and Damnation will mark the veteran band’s fourth top 10 LP, and career best chart position.
Further down the midweek tally, 10, Bournemouth, England rockers South of Salem look to make a dent for the first time with Death of the Party (Spider Party), new at No. 14; Shaun Ryder’s Black Grape could nab a fourth U.K. top 40 (and first in seven years) with Orange Head (Dgaff Recordings), new at No. 26; and folk act Fisherman’s Friends set sail for what could be a fifth top 40 LP with 10th LP All Aboard (Island), set to start at No. 36.
All will be revealed when the Official U.K. Albums Chart is published late Friday, Jan. 26.
Kali Uchis scores her first No. 1 on Billboard’s Top Album Sales chart (dated Jan. 27), as Orquídeas arrives atop the list with her biggest sales week ever – 31,000 copies sold in the U.S. in the week ending Jan. 18, according to Luminate. Of that sum, vinyl sales accounted for 20,000 – marking the largest week for a Spanish-language album on vinyl since Luminate began tracking sales in 1991. The effort also launches at No. 1 on the Vinyl Albums ranking, No. 1 on Top Latin Albums (her first leader there) and starts at a career-high No. 2 on the Billboard 200.
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Elsewhere in the top 10 of the new Top Album Sales chart, Jimin’s former No. 1 FACE re-enters at No. 4 following its vinyl release and Kid Cudi’s new album Insano starts at No. 5.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. All of Billboard’s new Jan. 27, 2024-dated charts will be posted in full on Billboard‘s website on Jan. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of the 31,000 copies sold of Orquídeas, physical sales comprise 30,000 (20,000 on vinyl, 10,000 on CD and negligible sum on cassette) and digital download album sales comprise 1,000. Its sales were bolstered by its availability across seven vinyl variants and four CD editions, including exclusive versions sold through independent record stores, Target, Urban Outfitters and the artist’s webstore.
Six Taylor Swift albums populate the top 10, all former No. 1s, led by Folklore, which pushes 3-2 with 19,000 (up 92%, owed to a replenishment of CD stock at retail). 1989 (Taylor’s Version) falls 1-3 (13,000; down 20%), Midnights dips 2-6 (8,000; down 29%), Lover descends 5-8 (7,000; down 28%), Evermore falls 7-9 (6,000; down 8%) and Speak Now (Taylor’s Version) drops 6-10 (5,000; down 25%).
Jimin’s FACE re-enters at No. 4 with nearly 10,000 sold (up 3,501%) following the set’s release on vinyl. It sold 8,000 copies on vinyl in the week ending Jan. 18, and enters at No. 2 on the Vinyl Albums chart. FACE was issued in only one vinyl edition, and included a photo book, postcard and photocard inside its packaging.
Kid Cudi scores his sixth top 10-charting effort on Top Album Sales, as his latest studio album Insano starts at No. 5 with 8,500 sold. Of that sum, physical sales comprise 7,000 (about 5,500 on vinyl and 1,500 on CD) and digital downloads comprise 1,500. The album’s sales were enhanced by its availability across four vinyl variants and four CD editions.
Stray Kids’ chart-topping ROCK-STAR falls 4-7 on Top Album Sales, with nearly 8,000 sold (down 19%).
In the week ending Jan. 18, there were 1.083 million albums sold in the U.S. (down 9.3% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 822,000 (down 12.1%) and digital albums comprised 261,000 (down 0.6%).
There were 370,000 CD albums sold in the week ending Jan. 18 (down 15.7 week-over-week) and 449,000 vinyl albums sold (down 8.8%). Year-to-date CD album sales stand at 1.316 (down 27.2% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.566 million (down 45.9%).
Overall year-to-date album sales total 3.694 million (down 35.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 2.895 million (down 38.8%) and digital album sales total 799,000 (down 19.5%).
Tommy Newport is a newcomer to not just the Billboard Hot 100, but all Billboard charts, thanks to his guest appearance on 21 Savage’s “Red Sky.”
The track, also with Mikky Ekko, debuts at No. 57 on the latest Jan. 27-dated Hot 100 with 8.4 million official U.S. streams in its opening week (Jan. 12-18), according to Luminate. It also starts at No. 21 on Hot Rap Songs, No. 24 on Hot R&B/Hip-Hop Songs and No. 34 on the all-genre Streaming Songs chart.
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“Red Sky” is from 21 Savage’s new LP American Dream, released via Slaughter Gang/Epic Records. It debuts at No. 1 on the Billboard 200 with 133,000 equivalent album units, becoming his fourth chart-topping set.
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Tommy Newport (real name: Oliver Milmine), born in Manchester, England, and raised in Wichita, Kan., has released two solo studio albums in his career: Just To Be Ironic, in 2018, and Glasshead, in February 2023—both on Real Dirty Boy/Silk Ivory. Outside of 21 Savage, he has collaborated with Jazz Cartier (“Jackpot”) and EARTHGANG (“Stargazer”).
Newport, who released his new single “Secret Place” on Friday (Jan. 18), concurrently debuts at No. 35 on the Emerging Artists chart.
As previously reported, all 14 chart-eligible songs from 21 Savage’s American Dream enter the Hot 100, including two in the top 10: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 10. The debuts up 21 Savage’s total to 103 career Hot 100-charting hits—he becomes just the 16th artist to amass 100 entries or more over the chart’s 65-year history.
It’s said that a pregnancy is a blessing, and that couldn’t be more on point for Kali Uchis, who scores her first No. 1 on Billboard’s Top Latin Albums chart with Orquídeas, as the new album debuts atop the list dated Jan. 27. The set’s roaring start arrives after the Colombian artist announced she was expecting her first child with Don Toliver in the music video for “Tu Corazón Es Mío” on Jan. 11.
“Very grateful to have the opportunity to keep growing every release and very grateful to my community,” Uchis tells Billboard.
Orquídeas, Uchis’ second Spanish-language album, was released Jan. 12 via Geffen/IGA, the first day of the tracking week ending Jan. 18. According to Luminate, the 14-track set starts with 69,000 equivalent album units earned in the U.S. – her biggest week ever.
Of Orquídeas’ first-week sum, streaming activity delivers 39,000 units, a figure equating to 51 million official on-demand streams of the album’s tracks – her largest streaming week ever for an album. Traditional album sales contribute 31,000 (her largest sales week yet), while the remaining balance stems from a negligible amount of track-equivalent album units. On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
With Orquídeas’ No. 1 entrance, Uchis bests her only career and first top 10 entry on Top Latin Albums: Sin Miedo (Del Amoy y Otros Demonios), her first Spanish-language full-lenghth, peaked at No. 3 in March 2021. The set delivered the eight-week champ “Telepatía” on Hot Latin Songs and her highest-ranking entry on the overall Billboard Hot 100 (No. 25 high).
Orquídeas concurrently gifts Uchis her second No. 1 entry on Latin Pop Albums, after Sin Miedo ruled for 11 weeks between March 2021 and July 2022. In total her first all-Spanish album has held in the top 10 for 165 weeks since its debut, encompassing the entire stay on the chart.
Elsewhere, Orquídeas begins at No. 2 on the all-genre Billboard 200, Uchis’ best performance there, following Red Moon in Venus (No. 4 high, March 2023), and an equal No. 1 debut on Top Albums Sales and Vinyl Albums. On the latter, it becomes the first Spanish-language album by a woman to debut atop the ranking. Bad Bunny is the only other act to debut at No. 1 with a Spanish-language album.
Orquídeas also spawns 12 debuts on the multi-metric Hot Latin Songs chart including the No. 1 start of “Igual Que Un Ángel,” with Peso Pluma. “I honestly wasn’t expecting that! Uchis adds. “I wrote and recorded the song a while ago and was shocked and excited that Peso wanted to jump on that one in particular because I love encouraging artists to step out of their comfort zone when creating.”
With those new debuts, “Labios Mordidos,” with Karol G, rising from No. 36 to No. 14, and the re-entry of “Muñekita,” with El Alfa and JT, at No. 36, the complete album takes over the chart which blends airplay, streaming data, and digital sales.
About which song Uchis relates with the most, she adds: “I deeply relate to all of them because I write all my own music, but I would say my favorite song is probably “¿Cómo Así?” because I feel it’s the most unique.”
Thanks to the new album and standout cuts, Uchis returns to the Billboard Artist 100 chart at No. 2, surpassing her No. 6 position in March 2023. The list measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
For all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Jan. 27) will refresh on Billboard.com on Tuesday (Jan. 23).
21 Savage has a huge week on Billboard’s charts, thanks to his new album, American Dream.
The set debuts at No. 1 on the Billboard 200 (dated Jan. 27) with 133,000 equivalent album units earned in its opening week (Jan. 12-18), according to Luminate, while all 14 chart-eligible songs from the LP enter the Billboard Hot 100, including two in the top 10.
The 14 debuts up 21 Savage’s total to 103 career Hot 100-charting hits. He becomes just the 16th artist to amass 100 entries or more over the chart’s 65-year history.
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Here’s a look at all of 21 Savage’s entries (includes two previously-charting songs) on the latest Hot 100.
21 Savage on the Jan. 27, 2024-dated Hot 100:Rank, TitleNo. 5, “Redrum”No. 10, “Née-nah,” with Travis Scott & Metro BoominNo. 18, “All of Me”No. 19, “N.H.I.E.,” with Doja CatNo. 31, “Pop Ur Sht,” with Young Thug & Metro BoominNo. 33, “Sneaky”No. 35, “Dangerous,” with Lil Durk & Metro BoominNo. 40, “Should’ve Wore a Bonnet,” with Brent FaiyazNo. 43, “Prove It,” with Summer WalkerNo. 48, “Good Good,” with Usher & Summer Walker (down from No. 34, after hitting No. 25)No. 50, “Surround Sound” (JID featuring 21 Savage & Baby Tate) (down from No. 40 peak)No. 57, “Red Sky,” with Tommy Newport & Mikky EkkoNo. 59, “Letter to My Brudda”No. 66, “See the Real”No. 67, “Just Like Me,” with Burna Boy & Metro BoominNo. 70, “Dark Days,” with Mariah The Scientist
Thanks to his appearance on “Red Sky,” Tommy Newport scores his first entry on not just the Hot 100, but any Billboard chart. Mikky Ekko, also on the song, returns to the Hot 100 for the first time as a recording artist since his featured appearance on Rihanna’s “Stay” in 2013., Ekko co-wrote “Stay” – as well as Teddy Swims’ “Lose Control,” which holds at its No. 8 high a week after reaching the top 10.
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With 103 total Hot 100 entries, 21 Savage passes The Weeknd (98), Eminem (96), Bad Bunny (93), Young Thug (93) and James Brown (91) for the 16th-most career hits.
Here’s an updated look at every act that has charted 100 or more Hot 100 entries.
Most Career Billboard Hot 100 Hits (through Jan. 27, 2024):328, Drake232, Taylor Swift207, Glee Cast186, Lil Wayne168, Future147, Nicki Minaj141, Kanye West138, Lil Baby116, Chris Brown113, Travis Scott109, Elvis Presley (whose career predates the Hot 100’s inception)108, Lil Uzi Vert105, Justin Bieber105, Jay-Z104, YoungBoy Never Broke Again103, 21 Savage
Of 21 Savage’s 103 total songs to have made the Hot 100, 53 have reached the top 40; 17 have hit the top 10; and two, via featured roles, hit No. 1: Post Malone’s “Rockstar” (2017) and Drake’s “Jimmy Cooks” (2022).
Before 21 Savage, the last artist to join the 100 Hot 100 hits club was Travis Scott, last August after releasing his album Utopia. Two other acts achieved the feat in 2023: Lil Uzi Vert in July, and YoungBoy Never Broke Again in May.
While it’s rare for artists to chart triple-digit entries on the Hot 100, it has become a more regular occurrence since the ranking began including streaming figures in 2007. As such, some artists have been able to chart a high number of songs on the Hot 100 after releasing high-profile albums. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption helps explain why artists have been able to chart many songs over short spans in recent years.
Ariana Grande’s “Yes, And?” debuts at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. Grande earns her third leader on the former and her second on the latter.
The song is the lead single from Grande’s seventh studio album, Eternal Sunshine, due March 8 (as announced Jan. 17).
Elsewhere, 21 Savage debuts two songs in the Global 200’s top 10 – “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 8 – Kali Uchis and Peso Pluma’s “Igual Que Un Ángel” opens at No. 9 and Xavi’s “La Victima” ascends 15-10. Plus, Bizarrap and Young Miko’s “Bzrp Music Sessions, Vol. 58” begins at No. 5 on Global Excl. U.S. and “La Victima” darts 18-9.
The Billboard Global 200 and Billboard Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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Grande Debuts Atop Global 200
Released Jan. 12, Ariana Grande’s “Yes, And?” starts atop the Billboard Global 200 with 94.4 million streams and 67,000 sold worldwide through Jan. 18. Grande earns her third leader on the list, after “Save Your Tears,” with The Weeknd, reigned for a week in May 2021 and “Positions” premiered atop the chart and led for two weeks in November 2020.
Jack Harlow’s “Lovin on Me” drops to No. 2 after two weeks atop the Global 200; Tate McRae’s “Greedy” slides 2-3, after two weeks at No. 1 beginning in November; and Xavi’s “La Diabla” dips to No. 4 from its No. 3 high.
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21 Savage debuts two songs in the Global 200’s top 10: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 8. The tracks start with 44.7 and 33.8 million streams, respectively, and 1,000 sold each, worldwide. 21 Savage scores his 15th and 16th top 10s – with “Redrum” marking his first with no accompanying artists. Travis Scott adds his ninth top 10 and Metro Boomin, his fifth. The songs are from 21 Savage’s LP American Dream, which bounds in at No. 1 on the U.S.-based Billboard 200 albums chart.
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Kali Uchis and Peso Pluma’s “Igual Que Un Ángel” arrives at No. 9 on the Global 200 with 38.2 million streams and 1,000 sold worldwide. Kali Uchis notches her second, and top-charting, top 10 on the ranking, after “Telepatía” hit No. 10 in April 2021, while Peso Pluma banks his 10th. The collaboration is from Kali Uchis’ new album Orquídeas, released Jan. 12.
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Plus, Xavi claims his second Global 200 top 10, as “La Victima” jumps 15-10 with 46.1 million streams (up 44%).
‘Yes, And’ Grande’s Also No. 1 on Global Excl. U.S.
Ariana Grande’s “Yes, And?” concurrently roars in atop the Billboard Global Excl. U.S. chart, with 68 million streams and 26,000 sold outside the U.S. Jan. 12-18. Grande tops the tally for a second time, after “Positions” led in its debut week in November 2020.
Tate McRae’s “Greedy” retreats to No. 2 on Global Excl. U.S. after three weeks in charge; Xavi’s “La Diabla” descends to No. 3 from its No. 2 high; and Jack Harlow’s “Lovin on Me” falls to No. 4 from its No. 3 best.
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Bizarrap and Young Miko’s “Bzrp Music Sessions, Vol. 58” debuts at No. 5 on Global Excl. U.S., with 36.8 million streams outside the U.S. in its first full tracking week (Jan. 12-18), following its Jan. 10 release. The track is Bizarrap’s fifth top 10 on the chart, following the series’ “Vol. 57,” with Milo J (No. 10, last October); “Vol. 55,” with Peso Pluma (one week at No. 1, June); “Vol. 53,” with Shakira (No. 2, January); and “Vol. 52,” with Quevedo (six weeks at No. 1, beginning in July 2022. Young Miko posts her second top 10, after “Fina,” with Bad Bunny, hit No. 10 in October.
Additionally, as on the Global 200, Xavi adds his second Global Excl. U.S. top 10, as “La Victima” leaps 18-9 with 35.4 million streams (up 51%).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 27, 2024) will update on Billboard.com tomorrow, Jan. 23. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Max Martin now solely has the most No. 1s among producers in the history of the Billboard Hot 100 songs chart.
He tallies his 24th career leader as a producer on the latest, Jan. 27, 2024-dated Hot 100, as Ariana Grande’s “Yes, And?” blasts in at No. 1. He surpasses the late George Martin – who produced 19 of The Beatles’ record 20 No. 1s – for the most leaders among producers over the chart’s 65-year archives.
Grande, who earns her eighth Hot 100 No. 1 as a recording artist, Max Martin and ILYA co-wrote and co-produced “Yes, And?”
Max Martin first dominated the Hot 100 both as a producer and writer 25 years ago this month, when Britney Spears’ debut smash “…Baby One More Time” hit No. 1 on the Jan. 30, 1999-dated chart. He initially reached the ranking in both roles on the chart dated Oct. 28, 1995, when Backstreet Boys’ “We’ve Got It Goin’ On” debuted at No. 97. He notched his first two top 10s simultaneously on the July 12, 1997, chart, when Robyn’s “Do You Know (What It Takes)” and Backstreet Boys’ “Quit Playing Games (With My Heart)” rose to Nos. 9 and 10, respectively.
Among his triumphs, Max Martin co-wrote and co-produced the No. 1 hit on the Hot 100’s Greatest of All Time Songs retrospective: The Weeknd’s “Blinding Lights.”
For the star Swedish producer (born Karl Martin Sandberg), “What’s so impressive is that he’s always in tune with the times, which has enabled him to stay relevant all these years,” Dave Penn, co-founder of Hit Songs Deconstructed, which provides in-depth analysis of Hot 100 top 10 hits, told Billboard in 2021. “A decade ago, he was opting for more clubby dance beats and EDM-styled synths. But toward the end of the 2010s, he had embraced hip-hop and started including trap beats in songs.
“But while he has adjusted certain aspects of his writing and producing style over the years,” Penn mused, “what’s interesting is that many things have remained essentially the same. Melody reigns supreme when it comes to mainstream hits, and Max Martin is still the undisputed champion of pop melody. As the saying goes, if it ain’t broke, don’t fix it.”
Max Martin also ties the late John Lennon for the second-most Hot 100 No. 1s among writers, 26 each, after only Paul McCartney’s 32; McCartney and Lennon co-penned all 20 of The Beatles’ No. 1s. (Two of those leading singles were double-listed with George Harrison compositions: “Come Together” with “Something,” and “The Long and Winding Road” with “For You Blue.”)
Here’s a rundown of Max Martin’s unprecedented 24 Hot 100 No. 1s as a producer.
“…Baby One More Time,” Britney Spears
Ariana Grande’s “Yes, And?” soars in at No. 1 on the Billboard Hot 100, becoming the pop superstar’s eighth career leader on the chart.
The song is the lead single from Grande’s seventh studio album, Eternal Sunshine, due March 8 (as announced Jan. 17).
Grande wrote and produced “Yes, And?” with Max Martin and ILYA. With its Hot 100 triumph, Martin makes history, as he passes George Martin for the most No. 1s among producers – 24 – ever on the chart.
Max Martin also ties John Lennon for the second-most Hot 100 No. 1s among writers – 26 each – after only Paul McCartney’s 32.
Additionally in the Hot 100’s top 10, 21 Savage debuts two songs: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 10. The tracks are from 21 Savage’s LP American Dream, which bounds in at No. 1 on the Billboard 200 albums chart.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Jan. 27, 2024) will update on Billboard.com tomorrow, Jan. 23. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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“Yes, And?,” on Republic Records, becomes the 1,162nd No. 1 in the Hot 100’s 65-year archives, and the 74th to debut at the summit.
Here’s a look at its coronation.
Streams, airplay & sales: Released Jan. 12, “Yes, And?” drew 27.2 million streams and 24.8 million radio airplay audience impressions and sold 53,000, including 41,000 digital downloads, in the Jan. 12-18 tracking week, according to Luminate.
The single launches at No. 1 on both the Streaming Songs and Digital Song Sales charts, where Grande ups her totals to five and nine leaders, respectively, and No. 28 on Radio Songs.
The track was available for purchase via 14 digital iterations, all for 69 cents by the end of the tracking week: its original version, an edit, an extended mix, an a cappella version and slowed and sped up mixes, each in clean and explicit options, as well instrumental and extended mix instrumental versions.
Grande’s eighth Hot 100 No. 1: Grande earns her eighth Hot 100 No. 1. It’s her first since “Die for You,” with The Weeknd, last March, and her first on her own since “Positions” in November 2020. (She notches her sixth No. 1 debut, following her first five leaders, as she ties Taylor Swift for the most among women; Drake leads all acts with nine chart-topping entrances.)
Ariana Grande’s Hot 100 No. 1s:
“Yes, And?,” one week at No. 1 to-date, Jan. 27, 2024
“Die for You,” with The Weeknd, one week, March 11, 2023
“Save Your Tears,” with The Weeknd, two weeks, beginning May 8, 2021
“Positions,” one week, Nov. 7, 2020
“Rain on Me,” with Lady Gaga, one week, June 6, 2020
“Stuck With U,” with Justin Bieber, one week, May 23, 2020
“7 Rings,” eight weeks, beginning Feb. 2, 2019
“Thank U Next,” seven weeks, beginning Nov. 17, 2018
Grande ties Beyoncé for the eighth-most Hot 100 No. 1s among solo women. Mariah Carey leads all women soloists with 19, followed by Rihanna (14), Madonna (12), Whitney Houston, Taylor Swift (11 each), Janet Jackson (10) and Katy Perry (nine).
Max Martin solely claims most Hot 100 No. 1s among producers: Grande co-wrote and co-produced “Yes, And?” with Max Martin and ILYA. She earns her eighth Hot 100 No. 1 as a writer and her first as a producer. ILYA adds his second leader as both a writer and producer, after Sam Smith and Kim Petras’ “Unholy,” for a week in 2022.
Meanwhile, with its arrival atop the Hot 100, Martin makes history, passing the late George Martin – who produced 19 of The Beatles’ record 20 No. 1s – for the most leaders among producers ever on the chart: 24.
Most Hot 100 No. 1s Among Producers:
24, Max Martin
23, George Martin
18, Lukasz “Dr. Luke” Gottwald
16, James “Jimmy Jam” Harris III
16, Terry Lewis
Max Martin also ties the late John Lennon for the second-most Hot 100 No. 1s among writers, 26 each, after only Paul McCartney’s 32. (McCartney and Lennon co-penned all 20 of The Beatles’ No. 1s.)
Most Hot 100 No. 1s Among Writers:
32, Paul McCartney
26, John Lennon
26, Max Martin
18, Mariah Carey
18, Lukasz “Dr. Luke” Gottwald
Max Martin first dominated the Hot 100 both as a producer and writer 25 years ago this month, when Britney Spears’ debut smash “…Baby One More Time” hit No. 1 on the Jan. 30, 1999-dated chart.
‘Yes,’ it’s No. 1, ‘And’ a first: “Yes, And?” is the first Hot 100 No. 1 with the word “yes” in its title. It one-ups Teri DeSario’s “Yes, I’m Ready” (with K.C.), which hit No. 2 in March 1980.
Honorable mention: 40 years ago, the band Yes ruled the Hot 100 with “Owner of a Lonely Heart,” for two weeks in January 1984.
(Not to sound negative … but 10 singles with “no” in their titles have topped the Hot 100, from The Rolling Stones’ “(I Can’t Get No) Satisfaction” in 1965 through Alicia Keys’ “No One” in 2007.)
No. 1 on Hot Dance/Electronic Songs: “Yes, And?” concurrently opens at No. 1 on the Hot Dance/Electronic Songs chart, which uses the same methodology as the Hot 100.
Grande posts her first Hot Dance/Electronic Songs leader on her own, and her third overall, following “Rain on Me,” with Lady Gaga (two weeks at No. 1, 2020), and “Break Free,” featuring Zedd (nine, 2014).
Jack Harlow’s “Lovin on Me” dips to No. 2 after three weeks atop the Hot 100. Meanwhile, it ascends to No. 1 on Radio Songs (67 million, up 15%), becoming his second leader, after “First Class” (four weeks, 2022). “Lovin on Me” tops the multimetric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a 10th week each.
Taylor Swift’s “Cruel Summer” slips 2-3 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October, and Tate McRae’s “Greedy” backtracks to No. 4 from its No. 3 best.
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21 Savage debuts two songs in the Hot 100’s top 10: “Redrum,” at No. 5, and “Née-nah,” with Travis Scott and Metro Boomin, at No. 10. The tracks start with 21.4 and 18 million streams, respectively.
21 Savage tallies his 16th and 17th Hot 100 top 10s – with “Redrum” marking his first with no accompanying artists. Travis Scott scores his 15th top 10 and Metro Boomin, his fifth.
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Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, falls 4-6 on the Hot 100, after it led for a week upon its debut last September, as it rules the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 21st week each and Hot Country Songs for a 17th frame.
Doja Cat’s “Paint the Town Red” descends 5-7 on the Hot 100, after it led for three nonconsecutive weeks beginning in September; Teddy Swims’ “Lose Control” holds at its No. 8 high, a week after it became his first top 10; and SZA’s “Snooze” drifts 6-9, after reaching No. 2, as it leads the multimetric Hot R&B Songs chart for a 25th week.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Jan. 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 23).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.