Chart Beat
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After three weeks at No. 1 on the TikTok Billboard Top 50, Mitski’s “My Love Mine All Mine” relents the No. 1 spot to Lil Mabu and Chrisean Rock’s “Mr. Take Ya B-tch.” Tetris Kelly: Half the TikTok top 10 are newbies this week and we’ve got a new No. 1. Lil Mabu and Chrisean […]
On Nov. 3, 11 musical acts, one hit-generating songwriter and Don Cornelius, the creator-host — from 1971 to 1993 — of groundbreaking syndicated Black music showcase Soul Train, will be inducted into the Rock & Roll Hall of Fame.
This year’s list of honorees includes a crop of legendary performers: British art-pop legend Kate Bush, hip-hop trailblazer Missy Elliott, late megastar George Michael, pop-rock hitmaker Sheryl Crow, outlaw country icon Willie Nelson, rap-rock firebreathers Rage Against the Machine and smooth soul group The Spinners.
Elsewhere, two individuals are set to be inducted under the “musical influence” category, including “Father of Hip-Hop” DJ Kool Herc and guitar pioneer Link Wray; while the “musical excellence award” will be given to three others: funk idol Chaka Khan, veteran studio musician Al Kooper and longtime Elton John lyricist Bernie Taupin.
Notably, four of the seven performers are being inducted on their first nomination: Crow, Elliott, Michael and Nelson. Among those, Elliott was the only artist eligible for the first time in 2023.
While the achievements of many of the above-named inductees — performers like Elliott, Michael, Crow, Nelson, Rage and Khan — are well-known to many, others on the list require more of an introduction. Below, we’ve compiled quick facts on each of the honorees, from the trails they’ve blazed in the industry to the hit songs that shot them to fame and fortune.
Below, a look at their musical milestones and chart achievements.
The Rock & Roll Hall of Fame induction ceremony will take place at Barclays Center in Brooklyn on Friday (Nov. 3). Viewers can watch the event live on Disney+ starting at 8 p.m. ET.
Kate Bush
Image Credit: TV Times/Getty Images
Tyla’s rapid rise hits a new level this week as “Water” rushes into the top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart with a 12-8 push on the list dated Nov. 4. The South African singer’s single continues to build in all three contributing metrics – streaming, radio airplay and sales – and races into the top 40 on the Billboard Hot 100.
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In the latest tracking week of Oct. 20 – 26, “Water,” released on FAX Records / Epic Records, registered 11.4 million official U.S. streams, according to Luminate, an 18% jump from the prior week. Thanks to that figure, the track lifts 14-10 on R&B/Hip-Hop Streaming Songs and takes the chart’s weekly Greatest Gainer honor. In the sales market, “Water” also sold 2,000 downloads in the tracking week, an 11% improvement on the prior week and enough to keep the track at No. 3 on R&B/Hip-Hop Digital Song Sales for a second week. The single’s radio airplay surges to 15.1 million in total audience, a 39% swell compared to the previous week, and prompts its No. 39 entrance on the all-genre Radio Songs chart. (All radio airplay, regardless of genre format, contributes to a track’s rank on the Hot R&B/Hip-Hop Songs chart.)
Diving further into the “Water” radio appeal, the single is hottest at the R&B/hip-hop format, as it pushes 19-14 on the Mainstream R&B/Hip-Hop Airplay chart through a 25% gain in plays at the format. It’s quickly racing up the ranks at rhythmic radio, dashing 30-20 on Rhythmic Airplay following a 57% explosion in weekly plays there. Plus, the tune launches at No. 39 on the Pop Airplay chart due to a 75% week-over-week improvement in plays at mainstream top-40 radio stations.
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Elsewhere, “Water” springs 5-2 on the Hot R&B Songs chart for a new peak and bursts 46-21 to a new best on the all-genre Hot 100, securing Tyla’s first top 40 hit in the process. In addition, “Water” wins a third term at No. 1 on the Billboard U.S. Afrobeats Songs chart. Echoing its rapid ascent up several U.S. charts, “Water” is also proving a global hit: The tune darts 21-9 on the Billboard Global 200 and 17-11 on the Billboard Global Excl. U.S. chart.
The ”Water” chart rise also lifts Tyla’s fortunes on the Billboard Artist 100, where she leaps 72-58 in her second week on the 100-position list, which measures artist activity across key metrics of music consumption- album and track sales, radio airplay and streaming – to provide a weekly multi-dimensional ranking of artist popularity.
After a three-week reign atop the TikTok Billboard Top 50, Mitski’s “My Love Mine All Mine” relents the No. 1 spot to Lil Mabu and Chrisean Rock’s “Mr. Take Ya B-tch,” which zooms from No. 33 to the top of the Nov. 4-dated tally.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity Oct. 23-29. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Mr. Take Ya B-tch” debuted on the Oct. 28-dated TikTok Billboard Top 50, following the song’s premiere on Oct. 16. In addition to a viral dance to the song on TikTok, the track has also garnered attention due to the song dissing Chrisean Rock’s ex-boyfriend Blueface (she is now dating Lil Mabu). Blueface’s current girlfriend, JaidynAlexis, concurrently leaps into the top 10 of the chart, zooming 13-8 with “Barbie” (more on it here after its debut on the Oct. 21 survey).
Lil Mabu and Chrisean Rock’s collaboration debuts at No. 33 on the Hot R&B/Hip-Hop Songs chart dated Nov. 4, racking up 7.2 million official U.S. streams in the Oct. 20-26 tracking week, according to Luminate.
It’s not the first time Lil Mabu has had a viral moment on TikTok, though it’s the first since the TikTok Billboard Top 50 began in September 2023. Previously, his song “Mathematical Disrespect” rose to No. 47 on the Billboard Hot 100 in May.
Music from Disney films take up two of the TikTok Billboard Top 50’s top 10 spots, with “Mr. Take Ya B-tch” followed by Ariana DeBose’s “This Wish” at No. 2 after it debuted at No. 5 the previous week. The song, from the upcoming film Wish out Nov. 22, continues to rise thanks to continued usages around collective digital character cards on TikTok for Walt Disney Animation Studios’ 100th anniversary that were launched Oct. 16. “We Don’t Talk About Bruno,” from 2021’s Encanto, benefits from the same trend, jumping 25-6.
The TikTok Billboard Top 50’s previous No. 1, Mitski’s “My Love Mine All Mine,” falls to No. 3 (though it continues to vault up the Billboard Hot 100, leaping 35-26 for a new peak), while Aliyah’s Interlude’s “It Girl” lifts from No. 6 to No. 4, its first week in the top five. Future’s “Wicked,” previously at No. 3, drops to No. 5 to round out the top five.
One of the chart’s big movers outside of “Mr. Take Ya B-tch” is Bad Bunny’s “Monaco,” which, after debuting at No. 50 on the Oct. 28 ranking, rises to No. 7 in its second week. Concurrently, the song spends a second week at No. 1 on Billboard’s Hot Latin Songs, with 18.1 million streams, 1.8 million radio audience impressions and 2,000 downloads.
Drake’s “Rich Baby Daddy,” featuring Sexyy Red and SZA, also reaches the TikTok Billboard Top 50’s top 10 for the first time, jumping 21-10 on the heels of dance content and other uploads mostly isolating Sexyy Red’s chorus.
Prince and the Revolution’s “Kiss,” meanwhile is the chart’s top debut of the week, bowing at No. 12. The iconic artist’s two-week Hot 100 No. 1 (1986) blasts onto the list due to a meme of a skeleton dancing to the song.
See the full TikTok Billboard Top 50 here, including debuts from Beach House, Future, Hank Williams Jr. and more. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
J Balvin adds a record-extending 36th No. 1 to his Billboard Latin Airplay account as his latest single “Dientes,” with Usher and DJ Khaled, climbs 9-1 on the Nov. 4-dated ranking. Usher and Khaled add their second leader.
“Dientes” becomes the Greatest Gainer of the week with 11 million audience impressions, up 51%, earned in the U.S. during the Oct. 20-26 tracking week, according to Luminate.
With “Dientes,” J Balvin tastes his first No. 1 on the overall Latin Airplay chart in 2023. His last effort, “Nivel de Perreo” with Ryan Castro, reached a No. 26 high last September. Prior, “Forever My Love” and “Sigue,” both collaborations with Ed Sheeran, took Balvin to the summit for one week each in April 2022.
Balvin first broke the No. 1 barrier with “AM” with Farruko in 2014, for one week in charge, and became a staple at the format with six more No. 1s from his next 10 chart visits. In total, Balvin has collected 36 champs, further distancing from the competition.
Here’s the rundown of artists with the most No. 1s on Latin Airplay since the chart began in 1994:
36, J Balvin
33, Ozuna
32, Enrique Iglesias
28, Daddy Yankee
23, Maluma
22, Bad Bunny
22, Wisin
“Dientes” brings Usher to the lead after more than two decades, after his featured role in Romeo Santos’ ”Promise” ruled for 10 weeks between 2011-12. Between his two chart-topping singles, he landed a No. 35 high through his featured turn in David Guetta’s “Without You” in 2012.
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DJ Khaled, meanwhile, scores his second No. 1 after Jennifer Lopez’s “Dinero” — where he is featured along with Cardi B — led for one week in 2018.
Back to the champ, in addition to securing all artists a new No. 1, “Dientes” gives UMLE its fourth ruler in 2023, after the label dominated with Karol G and Shakira’s TQG” (two weeks between May and July), Alejandro Fernandez’s “No Es Que Me Quiera Ir” and Feid and Sean Paul’s “Nina Bonita” (both for one week in Aug.)
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated Nov. 11), Taylor Swift’s latest Taylor’s Version is already her biggest-debuting yet – but will it pass the original album’s bow was nine years earlier?
Taylor Swift, 1989 (Taylor’s Version) (Republic): This was the one fans had perhaps most been waiting for: Taylor Swift’s re-recording of her 2014 blockbuster 1989, the album that confirmed her as a full-on, no-qualifiers-needed pop superstar, and the set many most associate with her today. Even in a pop culture autumn already totally jam-packed with Swift – including a No. 1 movie at the box office (with her concert film Taylor Swift: The Eras Tour) and a No. 1 song on the Billboard Hot 100 (with her revived Lover deep cut “Cruel Summer” — 1989 (Taylor’s Version)‘s Oct. 28 debut was always going to make a seismic chart impact.
The album – which features new recordings of the 13 tracks originally on 1989, as well as of three bonus tracks from the album’s deluxe editions, and five songs from that period seeing release for the first time – unsurprisingly dominated streaming services upon its release. Spotify announced that Swift had set the record not only for the best single-day performance for an album on the DSP, but for any single artist – breaking her own record, natch, previously set with the release day of last October’s Midnights. On the most recent Spotify Daily Top Songs USA chart (for Nov. 1), Swift still all of the top five spots, led by the Taylor’s Versions of new-old songs “Is It Over Now” and “Now That We Don’t Talk.”
Sales for the set have of course been massive. Billboard reported on Wednesday that in its first five days of release, the set had already posted a million in sales – making it her sixth album to pass the seven-digit mark in its first week. The album is available in 15 different physical variants, including five different-colored vinyl options (with a Target Exclusive version that also includes a bonus track re-recording of soundtrack song “Sweeter Than Fiction”), eight CD options (several with folded posters included), a multi-colored cassette, and a digital edition with a bonus track new version of 1989 single “Bad Blood,” featuring a re-recorded guest verse by rap superstar Kendrick Lamar.
1989 is already easily the best-performing Taylor’s Version for its debut week – sailing past the previous first-week high in units set by her re-recorded Speak Now (716,000) earlier this year. Will it also pass the first-week number set by the original 1989 back in 2014? That album also breezed by the million mark in its first week, ultimately posting 1.287 million in first-week sales. The new 1989 should certainly at least be in range of that, with the set already over a million in sales alone through the first five days of the tracking week, with two days’ worth of consumption still left to be accounted for.
If it can pass the original 1989, then Swift will have just one more of her own albums to pass for her best first-week performance ever: Midnights, which debuted with a staggering 1.578 million total units moved in November 2022 — of which 1.14 million were in straight sales.
IN THE MIX
SEVENTEEN, SEVENTEENTH HEAVEN (Pledis): Everyone is likely just competing for second on the Billboard 200 this week behind Taylor Swift, but South Korean boy band SEVENTEEN – who reached No. 2 on the chart in April with their FML EP — should have one of the week’s best-sellers with new EP SEVENTEENTH HEAVEN. As is common with major K-pop releases, the set’s sales will be bolstered by 16 collectible CD editions of the album, including exclusive versions sold via Barnes & Noble, Target and Walmart, all with branded merchandise items inside (like stickers and photo cards).
Brent Faiyaz, Larger Than Life (ISO Supremacy/UnitedMasters): If fortune favors the bold, hopefully R&B star Brent Faiyaz will be rewarded for surprise-releasing his new Larger Than Life set in the shadow cast by a Taylor Swift release week. The 14-track effort is currently only available in physical form as a pre-order for Nov. 20, but should perform fairly well on streaming – with guest appearances by Missy Elliott, Coco Jones, A$AP Rocky and other big names – and benefit from the momentum of 2022’s well-received Wasteland, which debuted at No. 2 on the Billboard 200 last July.
Various Artists, The Nightmare Before Christmas: Original Motion Picture Soundtrack (Disney) / Michael Jackson, Thriller (Epic): ‘Tis the season, and with Halloween officially passing on Tuesday, you can bet a number of holiday favorites will see big gains on the charts. Those will most likely be led by the Danny Elfman-composed soundtrack to the Tim Burton-produced perennial favorite The Nightmare Before Christmas (celebrating its 30th anniversary this year) and Michael Jackson’s Thriller, one of the most decorated albums in the chart’s history. If enough folks get in the holiday spirit this year, then Nightmare — which has spent 24 weeks on the Billboard 200 and sits at No. 54 on this week’s chart (dated Nov. 4) — may have a shot of passing its prior No. 22 peak, set around this time last year.
Fuerza Regida burst in at No. 2 on Billboard’s Top Latin Albums chart with Pa Las Baby’s y Belikeada on the Nov. 4-dated list and claims its highest debut among eight career entries.
Previously, the quintet’s eighth studio album Adicto had its best start, bowing at No. 4 in 2020. Further, Pa Las Baby’s matches the group’s chart peak on the list, equaling the No. 2 peak of Sigan: Hablando: II in January.
Pa Las Baby’s debuts at No. 2 with 38,000 equivalent album units earned in the U.S. in the week ending Oct. 26, according to Luminate. The expansive 30-track set boasts 14 collaborations, including tracks with Maria Becerra, Marshmello, Manuel Turizo, El Fantasma and Gabito Ballesteros. The album was released Oct. 20 via StreetMob/Rancho Humilde/Sony Music Latin.
Most of the Pa Las Baby’s opening sum derives from streaming-equivalent album units; that sum equals 51.7 million official on-demand streams of the set’s songs. The San Bernardino, Calif.-quintet scores the second-largest opening sum for a regional Mexican album, after Eslabon Armado’s Desvelado, which launched at No. 1 (May 13) with 63.51 million official U.S. streams. While Peso Pluma’s Génesis debuted with fewer streams from only one day of activity (July 1), it claimed the biggest week among regional Mexican albums ever, with 101.2 million streams after its first week of chart activity (dated July 8).
With Pa Las Baby’s debut, Fuerza Regida collect their fifth top 10 entry overall, tying with Junior H for the second-most for a regional Mexican act in 2023 after Eslabon Armado, who have grabbed six top 10s. Among all acts, Bad Bunny leads with eight top 10 albums.
Here’s a recap of Fuerza Regida’s collection of top 10s on Top Latin Albums:
Peak, Title, Peak DateNo. 8, Del Barrio Hasta Aquí, July 20, 2019No. 4, Adicto, April 25, 2020No. 3, Pa Que Hablen.: I., April 15, 2023No. 2, Sigan Hablando.: II, Jan. 28, 2023No. 2, Pa Las Baby’s Y Belikeada, Nov. 4, 2023
Pa Las Baby’s joins three other Regida albums on Top Latin Albums: Pa Que Hablen.: I. at No. 15, Sigan Hablando.: II at No. 33 and Del Barrio Hasta Aquí, Vol. 2 at No. 40.
Elsewhere, Pa Las Baby’s likewise becomes Regida’s highest-charting debut on the Regional Mexican Albums chart and the all-genre Billboard 200. On the former, it arrives at No. 1 for the group’s fifth chart-topper there, while it starts at No. 14 on the latter.
The album was preceded by two tracks on the multimetric Hot Latin Songs chart: the No. 5-peaking “TQM” (June 6) and lead single “Sabor Fresa,” which reached its No. 3 high on the July 8-dated list. Meanwhile, the album yields two newcomers: “Sobras y Mujeres” and “Excesos” open at No. 40 and No. 42, respectively.
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.
On the latest Billboard Gospel Airplay chart, Todd Dulaney and Bishop Hezekiah Walker are reigning supreme as their single “It’s Working” rises from No. 3 to No. 1. The song, which Dulaney co-penned with Tim Godfrey and Dontaniel Jamel Kimbrough, increased by 5% in plays during the Oct. 20-26 tracking week, according to Luminate. For […]
As predicted last week, Ado’s “Show” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 1, logging its fifth week atop the tally after gaining further momentum leading up to Halloween.
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Both streaming and downloads for the USJ Halloween event theme increased from the week before, with the former reaching 14,861,306 weekly streams, up approximately 3.2 percent. Downloads are up 17.9 percent at 17,617 units, landing the track at No. 2 for the metric. Points for video views are also up 39 percent (No. 1) and radio jumps 21-7 with an increase of 48 percent. The “Zombie de Dance” show is scheduled to end Sunday (Nov. 5), so it’ll be interesting to see how far “Show” can extend its record atop the Billboard Japan song chart after the spooky festivities come to an end.
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The lead song off J-pop boy band WEST.’s first “triple-A side” single called “Zettai Zetsumei/Beautiful/AS ONE” released Oct. 25 debuts at No. 3 on the Japan Hot 100 this week. “Zettai Zetsumei” is powered by sales with first-week CD figures for the track reaching 302,821 copies, which is about 1.37 times more than the group’s previous release, “Shiawase no Hana” (220,040 copies).
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“Suggoi FEVER!” by Morning Musume. ’23 bows at No. 4. The track leads the girl group’s first new single in ten months, called “Suggoi FEVER!/Wake-up Call～Mezameru toki～/Neverending Shine,” and is the last one including current leader Mizuki Fukumura. The song marks No. 2 for sales with 135,797 copies, surpassing the previous single called “Swing Swing Paradise/Happy birthday to Me!” (121,814 copies).
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After hitting No. 1 last week, Sakurazaka46’s “Shoninyokkyu” falls to No. 7, but the track continues to perform well, coming in at No. 5 for sales with 18,196 copies sold and No. 7 for streaming with 6,242,620 weekly streams.
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Also, Hey! Say! JUMP’s “Ready to Jump” off the group’s first-ever digital EP “P.U!” debuts at No. 15 on the Japan Hot 100 this week after hitting No. 1 for downloads with 26,719 units including bundle totals. The track is also at No. 26 for video.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 23 to 29, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.