Chart Beat
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Myke Towers’ “Lala” holds steady at No. 1 on the Billboard Argentina Hot 100 chart (dated Aug, 12) for a second week. The song joins Towers’ two other career rulers, the seven-week champ “Bandido,” with Juhn (2021); and “La Jeepeta,” with Nio García, Anuel AA, Brray and Juanka, which reigned for three weeks in 2020. […]
Carin León captures his fourth No. 1 on Billboard’s Regional Mexican Airplay chart as his latest single, “Indispensable,” climbs 5-1 to lead the Aug. 19-dated ranking. “Indispensable” is the only song from León’s third studio album Colmillo de Leche to enter Regional Mexican Airplay thus far. The 18-track set, a collage of genres that have […]
Multiple songs from the second season of Prime Video’s The Summer I Turned Pretty dot Billboard’s Top TV Songs chart, powered by Tunefind, for July 2023, paced by Guns N’ Roses’ classic “Sweet Child o’ Mine” at No. 1.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of July 2023.
“Sweet Child o’ Mine” featured in the fourth episode of The Summer I Turned Pretty’s second season, which aired July 21.
In July 2023, the song, a two-week No. 1 for Guns N’ Roses on the Billboard Hot 100 in 1988, racked up 19.3 million official on-demand U.S. streams and 3,000 downloads, according to Luminate.
Four songs from The Summer I Turned Pretty reach the July 2023 ranking in all, with “Sweet Child o’ Mine” followed by Frank Ocean’s cover of “Moon River” at No. 6 (1.6 million streams, episode five).
The Chambers Brothers’ “Time Has Come Today” takes No. 2 after a synch in Justified: City Primeval on FX. Heard in the show’s second episode (July 18), it earned 292,000 streams in July 2023.
Big Star’s “Thirteen” leads a trio of songs from Apple TV+’s The Afterparty at No. 3, with 347,000 streams after its inclusion in the second season’s fourth episode on July 26.
See the full top 10, also featuring music from The Righteous Gemstones and What We Do in the Shadows, below.
Rank, Song, Artist, Show (Network)1. “Sweet Child o’ Mine,” Guns N’ Roses, The Summer I Turned Pretty (Amazon Prime Video)2. “Time Has Come Today,” The Chambers Brothers, Justified: City Primeval (FX)3. “Thirteen,” Big Star, The Afterparty (Apple TV+)4. “I Wish,” Skee-Lo, The Afterparty (Apple TV+)5. “Party Up,” DMX, The Righteous Gemstones (HBO)6. “Moon River,” Frank Ocean, The Summer I Turned Pretty (Amazon Prime Video)7. “Ants Marching,” Dave Matthews Band, What We Do in the Shadows (FX)8. “Good Day,” Nappy Roots, The Afterparty (Apple TV+)9. “Edamame,” bbno$ feat. Rich Brian, The Summer I Turned Pretty (Amazon Prime Video)10. “The Distance,” Cake, The Summer I Turned Pretty (Amazon Prime Video)
YOASOBI’s “Idol” extends its record-breaking streak at No. 1 on the Billboard Japan Hot 100 on the chart dated Aug. 16, now at 18 consecutive weeks atop the tally.
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Ayase and ikura of YOASOBI are keeping themselves busy performing at a different music festival each weekend this month — after returning from performing at 88rising’s Head in the Clouds in Los Angeles, the pair took the stage at the Rock in Japan Festival on Aug. 13 as the headlining act closing out the five-day event, and are set to headline Summer Sonic on Saturday (Aug. 19) as the last act to hit the Mountain Stage.
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“Idol” continues to rule downloads, streaming, video views and karaoke although it’s on the decline in terms of overall points. The Oshi no Ko opener slips 17-24 for radio but total points add up to around 1.7 times the track at No. 2 on the Japan Hot 100.
Tatsuya Kitani’s “Where Our Blue Is” climbs 4-2 this week after the rising singer-songwriter performed the Jujutsu Kaisen Season 2 opener at Rock in Japan on Aug. 10. The track holds at No. 3 for downloads with 10,149 units and rises 3-2 for streaming with 9,982,812 weekly streams. The song is faring well in all but radio this week: staying at No. 38 for physical sales, rising 8-6 for video, 74-62 for karaoke, falling 27-32 for radio.
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Jung Kook’s “Seven” featuring Latto continues to hold at No. 3. The track falls 14-17 for downloads with 2,940 units, 2-3 for streaming with 9,808,590 streams, 9-16 for radio, and holds at No. 3 for video.
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Two songs debut in the top 10 this week. Kanjani Eight’s “Okami to Suisei” (Wolf and the Comet) bows at No. 4, selling 150,848 copies in its first week after dropping Aug. 9. Meychan’s “Enjoy,” written by Yuzu’s Yujin Kitagawa, launches at No. 6 after hitting No. 4 for streaming with 9,025,257 streams, boosted by an online event and a campaign to win autographs and other prizes.
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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 Aug. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Mammoth WVH makes it two-for-two atop Billboard’s Top Hard Rock Albums chart, as Mammoth II debuts at No. 1 on the tally dated Aug. 19. In the Aug. 4-10 tracking week, Mammoth II opened with 22,000 equivalent album units, according to Luminate. Of that sum, 20,000 units are via album sales. It’s the Wolfgang Van […]
Over 30,000 songs have graced the Billboard Hot 100 in the chart’s 65-year history. Of those, 1,151 have reached No. 1 (as of the chart dated Aug. 19, 2023) — a select 3.8 percent.
One of the rarest feats, perhaps, is repeating at No. 1 on the Hot 100 10 times — as only 10 artists in history have earned the distinction.
The elite list features eight solo artists and two groups. The Beatles lead all acts, with a whopping 20 No. 1s — a record they’ve held since 1965, when they surpassed Elvis Presley.
Presley, who’s notably absent from the list below, scored seven No. 1s in the Hot 100 era. The start of Presley’s career predated the Hot 100, which launched on Aug. 4, 1958, meaning that some of his classics, such as “Don’t Be Cruel,” “Hound Dog” and “Jailhouse Rock,” preceded the chart’s existence. He did, however, reach the summit with “A Big Hunk O’ Love,” “Stuck on You,” “It’s Now or Never,” “Are You Lonesome Tonight,” “Surrender,” “Good Luck Charm” and “Suspicious Minds.”
As for the artists just outside the 10 No. 1 hits club: Bee Gees, Elton John, Katy Perry, Paul McCartney (solo and with Wings), Taylor Swift and Usher have all topped the Hot 100 nine times, while Beyoncé (excluding Destiny’s Child’s four leaders with her as a member), Justin Bieber, Bruno Mars, George Michael (excluding two billed solely to Wham!) and The Rolling Stones have eight each.
Here are the 10 artists who have tallied 10 or more No. 1 hits on the Hot 100:
Title, Weeks at No. 1, Peak Date
The Beatles, 20 No. 1s
Image Credit: Courtesy Photo
Less than three months after tying Shinedown for the most top 10s in the history of Billboard’s Rock & Alternative Airplay chart, Foo Fighters take sole possession of the distinction.
“Under You,” the latest single from Foo Fighters’ new album But Here We Are, vaults 36-8 on the Aug. 19-dated ranking with 3.1 million audience impressions, a 163% surge, according to Luminate.
It’s the Dave Grohl-fronted band’s 16th top 10, the most among any act in the 14-year history of the survey, which reflects airplay on alternative, adult alternative and mainstream rock stations. Shinedown now has the second-most, 15, having broken the record earlier this year via “Dead Don’t Die,” which peaked at No. 3 in April.
Most Top 10s, Rock & Alternative Airplay16, Foo Fighters15, Shinedown13, Cage the Elephant13, Imagine Dragons13, twenty one pilots11, The Black Keys11, Muse10, Disturbed10, Weezer
Foo Fighters tied the record with “Rescued,” which eventually led the list for 11 weeks between May and July; the song ranks at No. 2 on the latest chart with 5.2 million impressions.
The band first reached Rock & Alternative Airplay’s top 10 with “Wheels,” a two-week ruler in 2009.
Concurrently, “Under You” flies 38-17 on Alternative Airplay and 37-21 on Mainstream Rock Airplay. “Rescued,” led both rankings, for 10 and six weeks, respectively.
“Under You” also returns to the multi-metric Hot Hard Rock Songs tally at No. 17. In addition to its airplay, the song earned 269,000 official U.S. streams Aug. 4-10.
But Here We Are debuted at No. 1 on the Top Alternative Albums and Top Hard Rock Albums surveys dated June 17 and has earned 121,000 equivalent album units to date.
Music from The Band hits multiple Billboard charts dated Aug. 19 following the death of guitarist and songwriter Robbie Robertson Aug. 9.
The influential group’s catalog is paced by a No. 1 re-entry for classic song “The Weight” on Billboard’s LyricFind U.S. and LyricFind Global tallies.
The LyricFind Global and LyricFind U.S. charts rank the fastest momentum-gaining tracks in lyric-search queries and usages globally and in the U.S., respectively, provided by LyricFind. The Global chart includes queries from all countries, including the U.S. The company is the world’s leader in licensed lyrics, with data provided by more than 5,000 publishers and utilized by more than 100 services, including Amazon, Pandora, Deezer, Microsoft, SoundHound and iHeartRadio.
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According to LyricFind, “The Weight” vaulted by 1,878% in lyric usages and searches in the Aug. 4-10 tracking week. Globally, the count was up 1,846%.
Music from The Band and Robertson dot both charts below “The Weight,” as “Chest Fever” and “The Night They Drove Old Dixie Down” appear at Nos. 6 and 9 on the U.S. survey, followed by Robertson solo tracks “Showdown at Big Sky” (No. 12) and “Somewhere Down the Crazy River” (No. 17). “Crazy Fever” (No. 15) and “Showdown at Big Sky” (No. 20) also reach the Global list.
The Band racked up 4.7 million official on-demand streams in the U.S. Aug. 4-10, up 56% from 3 million the previous week (July 28-Aug. 3). The group also accrued 4,000 paid song downloads, up 815%, and moved 2,000 in album sales, a 278% surge.
“The Weight,” “Up on Cripple Creek” and “The Night They Drove Old Dixie Down” reach Rock Digital Song Sales at No. 6 (2,000 downloads), No. 14 (1,000) and No. 17 (1,000), respectively.
Robertson’s solo material, meanwhile, earned 499,000 on-demand streams, a jump of 644%.
Robertson died Aug. 9 in Los Angeles from prostate cancer.
Post Malone shines with the week’s top debut on Billboard’s Top R&B/Hip-Hop Albums chart as The Diamond Collection starts at No. 3 on the list dated Aug. 19. The collection, effectively a greatest hits compilation with many of the rapper-singer’s biggest hits, launches on the chart with 32,000 equivalent album units earned in the week ending Aug. 11, according to Luminate.
Of the 32,000-unit week, just under 31,000 units derives from streaming activity, equal to 43.4 million official on-demand audio and video streams for the album’s songs this week. Album sales contribute 1,000 of the remaining units, with a negligible amount of activity is from track-equivalent units. (One unit equals the following levels of consumption: 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 The Diamond Collection, Post Malone logs his fifth consecutive top five effort on Top R&B/Hip-Hop Albums. His first four visits topped the list: 2016’s Stoney needed nearly a year to assert its three-week run at No. 1 in 2017-18, while Beerbongs & Bentleys (2018), Hollywood’s Bleeding (2019) and Twelve Carat Toothache (2022) all debuted at the summit and ruled for five, seven, and two weeks, respectively.
The Diamond Collection was released on April 21 to celebrate Post Malone’s eight RIAA-certified diamond songs, which comprised in its entire tracklist for its standard edition: “White Iverson,” “Congratulations” featuring Quavo, “I Fall Apart,” “Rockstar” featuring 21 Savage, “Psycho” featuring Ty Dolla $ign, “Better Now,” “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee and “Circles.” The set was re-issued on July 21 with 10 additional tracks that are not certified diamond, but nonetheless are also some of Post Malone’s most popular and successful cuts from his five studio albums, such as “Wow.,” “Take What You Want” and “I Like You (A Happier Song”) featuring Doja Cat.
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Beyond the bonus of new deluxe-edition tracks, The Diamond Collection’s debut traces to it pulling all the track-equivalent units (TEA) and streaming-equivalent units (SEA) for its songs for the week. As all the tracks on The Diamond Collection are also spread across Post Malone’s studio albums, the songs’ sales and streaming activity are assigned to whichever album has the most sales for the week. The Diamond Collection is Post Malone’s second-best-selling album for the week (only his latest release, Austin, sold more), thus, it draws the TEA and SEA activity for all tracks that are shared on Diamond and his non-Austin albums. (Should another album overtake it next week, for example, the songs that the album shares with The Diamond Collection would revert TEA and SEA contributions to that album, instead.) With many of Post Malone’s biggest hits linked to The Diamond Collection this week, Post Malone’s three albums from last week’s Top R&B/Hip-Hop Albums chart – Hollywood’s Bleeding (No. 10), Beerbongs & Bentleys (No. 34) and Stoney (No. 46) – fall off the list.
Elsewhere, The Diamond Collection begins at No. 2 on the Top Rap Albums chart and at No. 16 on the all-genre Billboard 200 albums chart.
Three months after Grupo Frontera became the second regional Mexican act to break the top 10 on the Billboard Hot 100 chart with “Un X100to” with Bad Bunny, the sextet scores its first top 10 on any albums chart with El Comienzo as the album flies 39-4 on the Top Latin Albums chart Aug 19-dated ranking after its first full week of activity. The set also jumps 12-2 on Regional Mexcan Albums and debuts at No. 39 on the all-genre Billboard 200.
El Comienzo is the Texas-based band’s album debut following multiple hit singles. The cumbia-spiced set was self-released on an off-cycle Thursday, Aug. 3 (the final day of the July 28 tracking week), and debuted at No. 39 on Billboard 200 with only one day of activity (Aug. 12-dated list).
On its first full tracking week ending Aug. 10, El Comienzo earned 21,000 equivalent album units in the U.S., according to Luminate. Nearly all the 11-track set’s opening sum is fueled by streaming activity. That figure equals to 31.4 million on-demand official streams of the album’s songs, while a negligible amount of album sales and track-equivalent album units contributes to the remaining balance.
Grupo Frontera grabs its first top 10 on an albums chart after placing six top 10s on the multimetric Hot Latin Songs and eight entries on the all-genre Hot 100. On the former list, “Bebe Dame” with Fuerza Regida led for two weeks in January, while on the latter survey “Un X100to,” with Benito, reached a No. 5 high in May.
Beyond its Top Latin Albums new peak, El Comienzo also gifts Frontera its first top five on Regional Mexican Albums, climbing from No. 12. Plus, it opens at No. 39 on the all-genre Billboard 200.
El Comienzo was preceded by four tracks on Hot Latin Songs, including the No. 2-peaking “Uno X100to.” Those, plus “El Amor De Su Vida” with Grupo Firme, which debuts on the current chart, make for a total of five songs from the album that have secured a spot on the list. Here’s the recap:
Peak Position, Title, Artist (if other than Frontera), Peak Date
No. 3, “No Se Va,” Nov. 12, 2022
No. 3, “Que Vuelvas,” with Carín León, Jan. 28
No. 2, “Uno X100to” with Bad Bunny, May 6
No. 43, “Le Va Doler,” June 24
No. 12, “El Amor de Su Vida” with Grupo Firme, Aug. 19 (debut)
“El Amor De Su Vida” also bows at No. 82 on Hot 100, for a total of eight entries there.Further, Grupo Frontera holds the record for the most entries on the all-genre tally among regional Mexican groups. Only one other act continues to topple its run, Peso Pluma with 20 entries, the most overall.
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