Chart Beat
Page: 350
The late David Crosby – whose death was reported Thursday (Jan. 19) at age 81 – left behind a legendary catalog of hits on Billboard’s charts through the years.
The singer/songwriter made his Billboard chart debut in 1965 with the band The Byrds and its smash Billboard Hot 100 No. 1 hit “Mr. Tambourine Man.” The group, known for its jangling guitars and layered harmonies, also topped the list with “Turn! Turn! Turn! (To Everything There Is a Season).” While Crosby departed The Byrds in 1967, he would continue to notch new hit albums and singles through collaborative projects and solo work on through his 2021 studio album For Free, which reached the top 10 on the Americana/Folk Albums chart.
Crosby logged 17 top 40-charting songs on the Hot 100, spanning his solo work and as part of The Byrds and the supergroups Crosby, Stills & Nash and Crosby, Stills, Nash & Young. (Stills, Nash and Young are Stephen Stills, Graham Nash and Neil Young.)
Among Crosby’s Hot 100 hits are The Byrds’ pair of No. 1s, which both topped the list in 1965; “Turn!” notched three weeks atop the list, while “Mr. Tambourine Man” spent one week at No. 1. The two songs are Crosby’s all-time biggest hits on the Hot 100 (we count down his top 20 hits, below). His all-time ranking includes such familiar CSNY favorites as “Teach Your Children,” “Our House” and “Southern Cross.”
On the Billboard 200 albums chart, Crosby’s work across his solo, collaborative and band projects yielded 22 top 40-charting efforts. Of those, 10 reached the top 10 – including a trio of No. 1s in the early 1970s from Crosby, Stills, Nash & Young (Deja Vu in 1970, 4 Way Street in 1971 and So Far in 1974).
David Crosby’s Top 20 Billboard Hot 100 hits chart is based on actual performance on the weekly Billboard Hot 100 through Jan. 21, 2022. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, certain eras are weighted to account for different chart turnover rates over various periods.
Both Fuerza Regida and Grupo Frontera celebrate their first No. 1 on Billboard’s Hot Latin Songs chart as “Bebe Dame,” their second collaboration, powers from 3-1 on the Jan. 21-dated ranking.
Explore
See latest videos, charts and news
See latest videos, charts and news
“We were aiming for a hit, but we didn’t know it’d be this big,” Fuerza Regida’s lead singer JOP tells Billboard.
“Bebe Dame” rises to the summit in its fourth week on the multimetric tally — which blends airplay, streaming data and digital sales — with gains across all metrics, and takes home the Greatest Gainer/Sales & Streaming trophy for registering the biggest gains of the week.
Streaming contributes the most to the song’s ranking, with a robust 26% increase, to 14.1 million official U.S. streams earned in the week ending Jan. 12, according to Luminate. The sum yields a 20-11 surge on the all-genre Streaming Songs list and a second week at No. 1 on Latin Streaming Songs.
While sales rise with a 17% gain, to 2,000 downloads in the same period, “Bebe Dame” is pushed down 1-2 on Latin Digital Songs, as Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” debuts atop with a little over 2,000 sales.
Fuerza Regida’s new No. 1 song arrives a week after scoring a dual achievement: the group’s latest albums Pa Que Hablen and Sigan Hablando launched in the top 10 on Top Latin Albums and Regional Mexican Albums charts (dated Jan. 14). “Bebe Dame” from Sigan Hablando, and which debuted at No. 3 on the same chart week on Hot Latin Songs, earns both Fuerza Regida and Grupo Frontera its first champ there.
“It was definitely challenging,” JOP adds about working with Grupo Frontera. “We went out of our comfort zone with this track, but the energy, the vibe, was always there. It was recorded in one take!”
Elsewhere, “Bebe Dame” earns Fuerza Regida its first entry on the all-genre Billboard Hot 100 chart. Grupo Frontera, meanwhile, secures its highest ranking as the song bows at No. 31.
Further, Grupo Frontera claims its highest ranking on the Global 200 list as “Bebe Dame” jumps 46-22 in its second week. Previously, the group reached a No. 31 high with “No Se Va” in Oct. 2022. On the Global Excl. U.S. chart, the track rockets 102-45 in its second week.
Feid Clocks Second Champ on Latin Rhythm Airplay: Over on Latin Rhythm Airplay, Feid generates his second ruler with “Normal,” which rallies 8-1 in its 27th week with a 33% gain in audience impressions, to 8 million, earned in the U.S. during the Jan. 6-12 tracking week. It’s the longest trek to the penthouse since the chart begun in 2005.
“Normal” becomes the Colombian’s first champ as a soloist, unaccompanied by any other act. His first Latin Rhythm Airplay domination landed through “Porfa,” with the all-star team comprising J Balvin, Maluma, Nicky Jam, Sech, and Justin Quiles in Aug. 2020.
On the all-genre Latin Airplay recap, “Normal” soars 16-4, Feid’s second top 10 there.
Five Finger Death Punch moves into a tie for the most top 10s in the history of Billboard’s Mainstream Rock Airplay chart, as “Welcome to the Circus” rises 11-10 on the Jan. 21-dated ranking.
“Circus” is the band’s 29th top 10, equal to the totals of Foo Fighters and Shinedown for the most since the tally began in March 1981.
Five Finger Death Punch first hit the top 10 with the No. 9-peaking “The Bleeding” in March 2008.
Most Top 10s, Mainstream Rock Airplay
29, Five Finger Death Punch
29, Foo Fighters
29, Shinedown
28, Tom Petty (solo and with the Heartbreakers)
27, Godsmack
26, Van Halen
25, Disturbed
25, Metallica
All of the band’s charting songs have hit the Mainstream Rock Airplay top 10 dating to “Lift Me Up” in 2013; “Circus” extends the streak to 20.
The Ivan Moody-led group is currently riding a record run of No. 1s: nine in a row, dating to 2018’s “Sham Pain.”
“Circus” is the third single from AfterLife, Five Finger Death Punch’s ninth studio album, to reach Mainstream Rock Airplay. The title track reigned for four weeks beginning in June 2022, while “Times Like These” ruled for three frames starting in October.
Concurrently, “Circus” lifts 25-24 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.4 million audience impressions, up 7%, according to Luminate.
“Circus” also ranks at No. 14 on the multi-metric Hot Hard Rock Songs list after peaking at No. 4 last June. In addition to its airplay, the song earned 577,000 official U.S. streams in the Jan. 6-12 tracking week.
AfterLife bowed at No. 1 on the Top Hard Rock Albums chart last September and has earned 134,000 equivalent album units to date.
Welcome to The Contenders, 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 Jan. 28), SZA’s SOS is expected to easily fend off challengers on the Billboard 200, but there will be more of a contest to reach the top of the Billboard Hot 100, where she faces stiff competition from Taylor Swift, Miley Cyrus and Shakira & Bizarrap as she seeks her first No. 1.
SZA, “Kill Bill” (Top Dawg Entertainment/RCA): As SZA’s SOS spends its fifth week atop the Billboard 200, her biggest single yet climbs to a new peak of No. 2 on the Hot 100 (dated Jan. 21) this week. The melancholy (and murderous) “Kill Bill” has ruled Billboard’s Streaming Songs chart for three weeks now, and it’s now also gaining at radio, debuting this week at No. 24 on Pop Airplay and No. 48 on R&B/Hip-Hop Songs Airplay.
However, “Bill” has yet to appear on the 50-position all-genre Radio Songs listing, which Taylor Swift’s “Anti-Hero” — the eight-week Hot 100 No. 1 currently keeping SZA from the top spot — has ruled for four weeks. (Still, “Bill” is just below the survey this week and likely to debut next week.) Also to help get the breakout hit over the top and score the first Hot 100 No. 1 of her career, SZA released a new four-song “Kill Bill” pack to streaming services last Friday (Jan. 13), adding sped-up, instrumental and a cappella versions to the original — all of which are currently for sale on her website, and discounted to 69 cents.
Miley Cyrus, “Flowers” (Columbia): Whether or not “Bill” overtakes “Anti-Hero” this week, it could face entirely new roadblocks in a pair of much-hyped singles that came out last week. The bigger of those is likely “Flowers,” Friday’s first taste of veteran pop star Miley Cyrus’ upcoming Endless Summer Vacation album that’s due in March. Produced by regular Harry Styles collaborators Kid Harpoon and Tyler Johnson, the mid-tempo kiss-off immediately won fans for its sunny pop-rock groove, self-reliant message and Bruno Mars-echoing (possibly Liam Hemsworth-referencing?) chorus.
After the song went viral on TikTok over the weekend, it bounded to the top of both the Spotify and Apple Music daily charts, as well as the iTunes song sales chart — and top 40 has also quickly seized onto the track, with a splashy debut sure to come on Radio Songs next week. It’s the kind of multi-platform dominance that has largely eluded Cyrus, despite her continued household-name status, over the past decade; she hasn’t reached higher than No. 8 on the Hot 100 (as an added performer to The Kid LAROI’s “Without You” remix in 2021) since she topped the chart in 2013 with “Wrecking Ball,” her sole No. 1 so far.
But Cyrus’ timing is right with “Flowers” — released last Thursday, Jan. 12 at 7 p.m. EST, five hours ahead of the tracking week for next week’s Hot 100. She’s taking advantage of an early-year pop landscape that’s relatively light on impactful new releases, as evidenced by the Hot 100’s top 40 currently being overrun by songs from 2022 (or even longer ago). But just as importantly, she’s riding positive momentum from her popular and well-received Miley’s New Year’s Eve Party NBC special, in which she dueted on old hits with godmother Dolly Parton and teased new music to come, with her full album announcement arriving less than a week later. It all adds up to Cyrus having her best shot in 10 years at a return trip to No. 1 next week.
Bizarrap & Shakira, “Bzrp Music Sessions, Vol. 53” (Dale Play): Before “Flowers” arrived, the buzziest debut of last week was easily Shakira’s incendiary team-up with in-demand Argentine DJ/producer Bizarrap. The propulsive electro-pop banger lit up the internet upon its release last Wednesday (Jan. 11, at 7 p.m. ET), particularly for its shots-fired lyrics aimed directly at the superstar’s footballer ex-husband Gerard Piqué. “Vol. 53” quickly surged to No. 1 on YouTube’s Trending chart, and also reached the top 10 and top 20 on the daily Spotify and iTunes U.S. charts, respectively.
Despite coming out six days into the prior tracking week, “Vol. 53” already debuts on several Billboard charts this week, including an impressive No. 12 bow on the Global 200. It misses out on the Hot 100, but with its streaming momentum staying strong, it’s certain to crash the chart next week. However, with stateside radio not yet embracing the Spanish-language track as much as it has “Flowers” and “Kill Bill,” it may end up lagging behind those front-runners.
Taylor Swift, “Anti-Hero” (Republic): While the threats to its reign are numerous, you can’t count out Taylor Swift and her incumbent eight-week No. 1. Swift and her team have made all the right moves to extend the Midnights single’s reign to career-best lengths, including releasing a number of remixes for the track for sale exclusively on her website — and, most recently, discounting those remixes to 69 cents from last Monday to Thursday (Jan. 9-12). Does she have any last-second tricks up her sleeve for this chart week?
Elvis Presley and Britney Spears debut on Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Jan. 21) with “Toxic Las Vegas (Jamieson Shaw Remix)” at No. 26. The track earned 493,000 U.S. streams and sold 500 downloads in the Jan. 6-12 tracking week, according to Luminate.
Heard in the 2022 Presley biopic Elvis, and released Jan. 6, the track is a mash-up of two classics from different eras: Presley’s “Viva Las Vegas” and Spears’ “Toxic.” “Viva,” credited to Presley with the Jordanaires, reached No. 29 on the Billboard Hot 100 in 1964; “Toxic” rose to No. 9 in 2004.
Elvis director Baz Luhrmann compared the King of Rock and Roll to the Princess of Pop in an interview with entertainment.ie last June. “Just like Britney, who creates the quintessential ’90s pop music, you’re richer than God and you’re in the Hollywood bubble,” he said. “That’s what happens to Elvis. He’s gone from being this rebel, this punk, deeply steeped with his Black music friends doing radical music, to suddenly being isolated in Hollywood doing pop.”
The star pairing gives Presley his inaugural appearance on the Hot Dance/Electronic Songs chart, which premiered 10 years ago this month. It’s the eighth placement for Spears, who earned her second No. 1 last September, alongside Elton John on “Hold Me Closer.” (Spears first led with “Scream & Shout,” with will.i.am, on that inaugural survey, dated Jan. 26, 2013, beginning a five-week reign.)
Concurrently, “Toxic Las Vegas” opens at No. 12 on the Dance/Electronic Digital Song Sales chart, eclipsing the peak of Spears’ original “Toxic”; although its release predated the chart’s 2010 inception, “Toxic” hit No. 31 on that chart’s first edition in 2010.
On Dance/Electronic Digital Song Sales, Spears has three No. 1s and nine top 10s among 23 appearances. “Toxic Las Vegas” is Presley’s second hit there, following “Don’t Fly Away (PNAU Remix),” billed as by Presley and PNAU (No. 18, last July).
Meanwhile, “Toxic” marks the latest revival as a mash-up for the enduring song: In early 2022, “Toxic Pony,” a blend with Ginuwine’s No. 1 Hot R&B/Hip-Hop Songs smash, and a No. 6 Hot 100 hit, from 1996, reached No. 7 on R&B Digital Song Sales and No. 40 on Pop Airplay, among other showings.
Skrillex, Fred Again.. and Flowdan fly into the top 10 on Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Jan. 21) with “Rumble,” up from No. 15 to No. 10. The song, released Jan. 4 and which debuted on the Jan. 14 tally from just two days of data, reaped 2.8 million streams and sold 1,000 downloads Jan. 6-12, according to Luminate.
“Rumble” marks the sixth top 10 for Skrillex and the first each for Fred Again.. and Flowdan. Skrillex boasts one leader: “Where Are You Now,” with Diplo and Justin Bieber, for two weeks in 2015.
Concurrently, “Rumble” roars on Dance/Electronic Digital Song Sales (13-4) and enters Dance/Electronic Streaming Songs (No. 11).
But there’s more from Skrillex: His “Way Back,” with PinkPantheress and Trippie Redd, opens at No. 13 on Hot Dance/Electronic Songs. The track, which starts with 1.8 million streams, is Skrillex’s 38th entry, dating to “Right In,” which hit No. 24 just after the chart began in January 2013. “Back” marks the third appearance for Trippie Redd and the first for PinkPantheress.
‘Seventeen’ at 50
Wuki, aka DJ/producer Kris Barman, debuts on Hot Dance/Electronic Songs with “Edge of Seventeen” at No. 50. It’s Wuki’s first solo Billboard charted title, following a run with Innerpartysystem, which hit the Top Dance/Electronic Albums chart with EP Never Be Content (No. 15, 2011).
“Seventeen” – with unbilled vocals by U.K. singer Clementine Douglas – is a cover of Rock and Roll Hall of Famer and Fleetwood Mac legendary singer Stevie Nicks’ classic “Edge of Seventeen (Just Like the White Winged Dove),” which scaled Mainstream Rock Airplay (No. 4, September 1981) and the Billboard Hot 100 (No. 11, April 1982). More recently, Miley Cyrus interpolated the song, with Nicks, in “Edge of Midnight (Midnight Sky Remix),” a reworking of Cyrus’ “Midnight Sky,” a No. 14 hit on the Hot 100 in 2020.
‘Dice’ Is Winning
Shifting to the Dance/Mix Show Airplay chart, Armin van Buuren bursts into the top 10 with “Roll the Dice,” featuring Philip Strand (14-8). van Buuren’s 11th top 10 and Strand’s first, the song is drawing core-dance airplay on Music Choice’s Dance/EDM channel, iHeartRadio’s Evolution and KMVQ-HD2 San Francisco, among other outlets. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
Elevation Worship earns its second No. 1 on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart and its third leader on Christian Airplay as “Same God” ascends to the top of both lists dated Jan. 21.
The song increased by 10% to 8 million audience impressions among Christian Airplay reporters in the Jan. 6-12 tracking week, according to Luminate. It also drew 1.5 million U.S. streams and sold 1,000 downloads.
The Charlotte, N.C.-based collective previously ruled Christian Airplay with “Rattle!” for a week in September 2021 (as it also hit No. 4 on Hot Christian Songs), and “Graves Into Gardens,” featuring Brandon Lake. The latter also topped both charts at once, on the tallies dated Feb. 6, 2021. It dominated Hot Christian Songs for two frames, while pacing Christian Airplay for a week.
Elevation Worship now sports two of the three select instances in which a track has dominated both charts simultaneously. Prior to “Same God” and “Gardens,” Mandisa first achieved the feat in September 2013 when “Overcomer” spent its first of 10 weeks atop Hot Christian Songs and its first of 12 frames in the Christian Airplay penthouse.
Notably, the act has released a studio version and a live version of “Same God,” the latter of which credits Jonsal Barrientes, a member of the group, in a featured role. Chris Brown, Elevation Worship frontman, sings lead vocals on the studio mix. (Both renditions contribute to the song’s singular chart listing.)
Brown co-wrote the track with Pat Barrett, Steven Furtick and Brandon Lake.
Lainey Wilson’s “Heart Like a Truck” ascends to the top 10 on Billboard’s streaming-, airplay and sales based Hot Country Songs chart, giving the singer-songwriter her fourth career-opening hit in the tier. On the chart dated Jan. 21, it climbs from No. 12 to No. 8.
Wilson co-penned “Truck” with Trannie Anderson and Dallas Wilson, and it was produced by Jay Joyce.
The song drew 8.8 million official streams (up 1%) and sold 4,000 downloads in the U.S. in Jan. 6-12, according to Luminate. On Country Airplay, it rolls 13-12 for a new high (16.4 million impressions, up 14%, in the same span).
Concurrently, Wilson’s featured turn on HARDY‘s “Wait in the Truck” ranks at No. 11 after hitting No. 7 in November. On Country Airplay, it pushes 14-13 (15.3 million, up 12%). Plus, it attracted 9.9 million clicks and sold 4,000 in the tracking week.
Wilson debuted with “Things a Man Oughta Know,” which reached No. 3 on Hot Country Songs and led Country Airplay for a week in September 2021. Sophomore single “Never Say Never,” with Cole Swindell, peaked at No. 2 last April, while dominating Country Airplay for two frames in April-May. As Wilson scored her second of two Country Airplay No. 1s, Swindell earned the 11th of his 12 to-date.
‘Gone’ Goes Top 10
On Country Digital Song Sales, Luke Combs banks his 27th top 10 as “Going, Going, Gone,” jumps 16-10, up 9% to 2,000 sold. His haul of top 10s includes eight No. 1s, most recently “The Kind of Love We Make” for three weeks after opening atop the ranking last July.
On Hot Country Songs, “Gone” ranks at No. 7, after reaching a No. 6 high, with 9.9 million streams. On Country Airplay, it holds at No. 11 (18.9 million, up 18%).
Music from MONSTA X’s new six-song EP REASON swarms Billboard’s Hot Trending Songs chart, powered by Twitter, dated Jan. 21, led by “Deny” at No. 1.
Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Jan. 6-12.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Deny” is one of five songs to feature on the latest list upon the EP’s Jan. 9 release. All of the songs reach the top 10, with “Deny” followed by “Crescendo” at No. 5.
Concurrently, one of the EP’s songs, “Beautiful Liar,” reaches Billboard’s World Digital Song Sales chart at No. 8.
The top non-MONSTA X Hot Trending Songs appearance belongs to Huh Yunjin, whose “I ≠ DOLL” starts at No. 2. The LE SSERAFIM member’s first solo release of 2023 premiered Jan. 8; the music video, released the same day, has earned nearly 4 million global views on YouTube as of Tuesday, Jan. 17.
Music by A$AP Rocky and Moneybagg Yo featuring GloRilla also reach the top five.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.
Official HIGE DANdism’s “Subtitle” has tied the all-time record for most weeks at No. 1 on the latest Billboard Japan Hot 100, dated Jan. 18, logging its 11th week atop the chart.
Explore
See latest videos, charts and news
See latest videos, charts and news
The track has now caught up with superstar Gen Hoshino‘s “Koi” that set the 11-week record in early 2017. The tracks are also tied for most consecutive weeks at No, 1 with seven each.
Hoshino’s ubiquitous hit continues to be widely popular today, and “Subtitle” is also well on its way to becoming one of HIGE DAN’s biggest hits as well. But, as predicted last week, the track is slowing down considerably — the overall points for “Subtitle” decreased by about 10 percent this week— so we’ll see if the next tally will become a history-changing moment on the Japan charts.
The four-man band currently has three songs charting in the top 10 — “Subtitle,” “White Noise,” and the former No. 1 song “Mixed Nuts” — with “White Noise” debuting at No. 5. The track is the opener for the latest story arc of the TV anime series Tokyo Revengers and is the band’s second tie-in with the series following the long-running hit “Cry Baby” from the summer of 2021.
LIL LEAGUE from EXILE TRIBE’s debut single “Hunter” launched with 88,660 copies (No. 2 for sales) and bowed at No. 2 on the Japan Hot 100 this week. The new group, formed through the iCON Z 2022 Dreams For Children audition that was the biggest of its kind in LDH’s history, also came in at No. 1 for radio this week.
Meanwhile, “Kamisama datte kimerarenai,” the tenth single by 22/7 (Nanabunnonijyuuni), a virtual idol group produced by Yasushi Akimoto of AKB48 fame, hit No. 1 for sales with 89,460 copies sold, but couldn’t follow up in other metrics (No. 25 for radio, for example) and debuts at No. 7 on the Japan Hot 100.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
For the full Billboard Japan Hot 100 chart, tallying the week from Jan. 9 to 15, see here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.