Chart Beat
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By 1987, Belinda Carlisle had become a chart mainstay. Five years earlier, she and her Los Angeles pop-punk band The Go-Go’s became the first all-female group to top the Billboard 200 when their debut album, Beauty and the Beat, spent six weeks at No. 1 in 1982. The same year, the quintet followed with the top 10 LP Vacation and, in 1984, the top 20 Talk Show. They also scored five top 40 Billboard Hot 100 hits, including “Our Lips Are Sealed” and “We Got the Beat.”
The Go-Go’s went on hiatus after Talk Show, but Carlisle didn’t slow down. Her 1986 debut solo LP, Belinda, reached No. 13 on the Billboard 200 and spawned a No. 3 Hot 100 hit, “Mad About You.”
It wasn’t until the end of the following year that Carlisle, then 29, made her first solo trip to the top of the Hot 100 with “Heaven Is a Place on Earth,” which crowned the Dec. 5, 1987, chart. The song’s popularity was helped by an artsy music video directed by actress Diane Keaton featuring women in bandit masks holding illuminated globes.
In 2013, Rick Nowels recalled the process of co-writing “Heaven”: “[Co-writer] Ellen [Shipley] had the title ‘Heaven on Earth.’ I was playing around with a Prince-type rhythm and sang ‘Heaven Is a Place on Earth.’ We both decided it was more original.
“The first draft of the song had a different minor-key verse along with the minor-key chorus,” Nowels recalled. “We actually recorded it with Belinda and I began to feel that the chorus was a hit, but the verse was not great. So, Ellen and I got together and quietly rewrote the verse. I knew I wanted to modulate into the chorus, which is why the pre-chorus goes to a different key and then back to the original key for the chorus. I had to tell Belinda that we rewrote the song … and had to rerecord it. As soon as we played it for her, she agreed.”
For all involved, including engineer/mixer Shelly Yakus, the rewards were clearly worth the efforts. “I put a lot of time into the arrangement of the song,” said Nowels, who has also penned hits for Stevie Nicks, Madonna, Santana, John Legend and Lana Del Rey, among others.
This June, Nowels was inducted into the Songwriters Hall of Fame.
Heaven on Earth generated two more Hot 100 top 10s, the Diane Warren-penned “I Get Weak” (No. 2 peak) and fellow Nowels-Shipley composition “Circle in the Sand” (No. 7). 1989 follow-up Runaway Horses added the top 40 hits “Leave a Light On” and “Summer Rain” to her catalog.
Having overcome drug addiction, which she chronicled in her 2011 biography Lips Unsealed, “It’s surreal for a Valley Girl to go from working as a secretary to hitting the top of the charts,” Carlisle told Billboard in 2013. “It still makes me smile to think about it now.”
In October 2017, Carlisle’s latest album, Wilder Shores, a collection of Buddhist chants and mantras (inspired by her longtime passion for Kundalini yoga), hit No. 4 on both the New Age Albums and World Albums charts.
In 2021, The Go-Go’s were inducted into the Rock and Roll Hall of Fame. “What a great way to cement the legacy,” Carlisle told Billboard.
On Dec. 15, Carlisle is set to celebrate the season with a holiday show at The Abbey in West Hollywood, Calif., with special guests including Lisa Loeb, Margaret Cho and Wilson Phillips’ Carnie and Wendy Wilson. (Carnie Wilson and Wilson Phillips’ Chynna Phillips provided backup vocals on Heaven on Earth.) The charity fundraiser will benefit Animal People Alliance.
Taylor Swift’s “Anti-Hero” (via EMI) is still the boss in the U.K., where it racks-up six consecutive weeks at No. 1.
The Midnights tune accumulated just shy of 4.9 million streams during the latest cycle, the Official Charts Company reports, to hold off Meghan Trainor’s “Made You Look” (Epic), up 3-2; and venbee, goddard and ArrDee’s “messy in heaven” (Columbia), up 5-3. Those are new peak positions for the podium finishers.
British singer and songwriter RAYE enjoys her first taste of the high life as an independent artist, as“Escapism” (Human Re Sources) featuring 070 Shake races 31-6. It’s RAYE’s first appearance in the top 10 as a lead artist, following her assist on Jax Jones’ “You Don’t Know Me” (No. 3 in 2016), “Secrets” with Regard (No. 6 in 2020) and “Bed” with Joel Corry and David Guetta (No. 3 in 2020).
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The Londoner (real name Rachel Keen) was nominated for BBC Music’s Sound of 2017 award and is expected to drop 21st Century Blues, her debut LP, in 2023. Her debut mini-album, Euphoric Sad Songs was released in November 2020.
Stormzy is moving on up with “Firebabe” (0207/Merky), which roars 26-11 following the release of his third LP This Is What I Mean, new at No. 1 on the Official U.K. Albums Chart. Also, the record’s title track starts at No. 32 on the Official U.K. Singles Chart, published Dec. 2, for his 28th Top 40 title.
The Christmas spirit can be measured on the latest singles survey, as a string of holiday classics make their annual return.
Leading the way is Mariah Carey‘s “All I Want For Christmas Is You” (up 18-8 via Columbia), and Wham’s “Last Christmas” (up 23-9 via RCA), both former leaders.
Elsewhere in the U.K. top 40 are Ed Sheeran & Elton John’s “Merry Christmas” (up 40-15 via Atlantic), Brenda Lee’s “Rockin’ Around The Christmas Tree” (up 42-18 via MCA), Michael Buble’s “It’s Beginning To Look A Lot Like Christmas” (up 49-20 via Reprise), Shakin’ Stevens’ “Merry Christmas Everyone” (up 54-26 via RCA), Ariana Grande’s “Santa Tell Me” (up 55-28 via Republic Records), The Pogues featuring Kirsty MacColl’s “Fairytale of New York” (up 57-30 via Warner Bros), Kelly Clarkson’s “Underneath The Tree” (up 62-31 via RCA), Band Aid’s “Do They Know It’s Christmas?” (up 63-34 via Mercury), and Bobby Helms’ “Jingle Bell Rock” (69-36 via MCA).
That’s 11 Christmas-themed songs in the top 40, and there’s still time for the publication of three more weekly charts before Dec. 25.
Taylor Swift’s Midnights logs a fifth week atop the Billboard 200 albums chart (dated Dec. 10), while a flurry of holiday albums jingles in the top 10. Midnights earned 151,000 equivalent album units in the tracking week ending Dec. 1 in the U.S. (down 15%), according to Luminate. The last Swift album with more weeks at No. 1 is Folklore, which notched eight nonconsecutive weeks atop the list in 2020. Since then, she’s claimed four more chart-topping albums: Evermore (four weeks at No. 1 in 2020-21), Fearless (Taylor’s Version) (two weeks, 2021), Red (Taylor’s Version) (one week in 2021) and Midnights (five weeks so far).
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Also in the top 10, catalog holiday albums powered by streaming activity make waves as Michael Bublé’s former No. 1 Christmas rises 10-4, Nat King Cole’s The Christmas Song vaults 18-8 and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack jumps 17-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 10, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 6). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Midnights’ 151,000 equivalent album units earned, SEA units comprise 89,000 (down 24%, equaling 117.93 million on-demand official streams of the set’s tracks), album sales comprise 60,000 (up 5%) and SEA units comprise 2,000 (down 6%).
Five former No. 1s are Nos. 2-6 on the latest Billboard 200 chart. Drake and 21 Savage’s Her Loss holds at No. 2 (93,000 equivalent album units earned; down 22%), Bad Bunny’s Un Verano Sin Ti is stationary at No. 3 (52,000 units; down 7%), Bublé’s Christmas climbs 10-4 (47,000 units; up 55%), Lil Baby’s It’s Only Me falls 4-5 (43,000 units; down 10%) and Morgan Wallen’s Dangerous: The Double Album dips 5-6 (40,000 units; down 3%). The Weeknd’s compilation The Highlights descends 6-7 with 40,000 units (up 2%).
Cole’s The Christmas Song rises 18-8 with 36,000 equivalent album units (up 58%). The album, which includes such seasonal favorites like the title track and “O Holy Night,” peaked at No. 6 two holiday seasons ago, on the Jan. 2, 2021-dated chart. Harry Styles’ chart-topping Harry’s House falls 8-9 with 35,000 units (up 5%). Guaraldi Trio’s A Charlie Brown Christmas soundtrack jumps 17-10 with 33,000 units (up 45%). The seasonal set peaked at No. 6 nearly a year ago on the Jan. 1, 2022-dated list.
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.
Bizarrap is at it again, as his latest collaboration with Duki, “Bzrp Music Sessions, Vol. 50,” tops the Billboard Argentina Hot 100 chart (dated Nov. 26). The track tops the tally after its No. 11 debut the week prior. It’s the DJ and producer’s seventh No. 7, while Duki secures his third.
As “Vol. 50” arrives at the summit, it sends Manuel Turizo’s “La Bachata” to the runner-up slot after its 11-week reign, the longest domination in 2022, and the fifth-most overall.
Meanwhile, Rosalía’s “Despechá” drops 2-3 and Bizarrap and Quevedo’s “Bzrp Music Sessions, Vol. 52” moves 3-4 (the song ruled for eight consecutive weeks starting the July 16-dated recap.) Plus, La Joaqui’s “Dos Besitos,” featuring Salas and Gusty DJ, advances to the top five with a 9-5 ascent.
Elsewhere, Miranda’s “Don” scores the Greatest Gainer of the week as the song surges 79-40. It’s the group’s highest-charting title since its first chart entry in September 2020.
One ranking below, Emilia’s Underground” debuts at No. 40 as the Hot Shot Debut of the week.
Further, four other songs debut this week: Pablo Alborán and Maria Becerra’s “Amigos” joins at No. 43; Trinidad Cardona, Davido and Aisha’s World Cup anthem “Hayya Hayya (Better Together)” opens at No. 47; while Quevedo secures his sixth entry with “Punto G” at No. 78. Lastly, both Punto40 and Marcianeke make their first chart appearance as “Mini Mini” bows at No. 95.
Harry Styles has been on tour for over a year now. He kicked off Love on Tour in Las Vegas on Sept. 4, 2021, and played for three months around the country. Then he played two months of shows in Europe over the summer of 2022 before he returned to North America.
“Tour” is a funny word for Styles’ last three months of performances. Yes, he played many concerts in quick succession. Yes, he moved from city to city, playing to hundreds of thousands of fans in major markets. But while his pop chart competition played one or two shows at each venue, hitting 20, 30 or 40-plus stadiums and arenas, Styles played extended batches of shows in a handful of A-markets.
After a pair of shows in Toronto, he settled in at New York’s Madison Square Garden for 15 shows at the iconic arena, stretching from Aug. 20 to Sept. 21. The strength of his ticket sales there set records that defy qualification. His monthlong run isn’t just the highest grossing engagement for a British artist, or for a male artist, or for a former boy-band member, and not even just the biggest for any at that venue.
According to figures reported to Billboard Boxscore, Styles’ 15 shows at MSG grossed $63.1 million and sold 277,000 tickets, enough to be the highest grossing headline engagement in Boxscore’s three-decade-plus history.
Given his all-time standing, Styles’ MSG mini-residency naturally leads Billboard’s year-end Top Boxscores chart, ranking individual concerts, but grouping together performances by an artist at one venue. He is followed by Ed Sheeran’s five shows at London’s Wembley Stadium (July 24-July 1; $37.2 million), BTS’ four shows at Allegiant Stadium in Las Vegas (April 8-16; $35.9 million), San Francisco’s Outside Lands Music and Arts Festival (April 5-7; $33.9 million) and BTS’ four-show run at SoFi Stadium in Inglewood, Calif. (Nov. 27-Dec. 2, 2021; $33.3 million).
Overall, Styles eclipses Take That, who previously owned the top two Boxscores of all time. Relatives of Styles’ British boy-band family, the group played eight shows at Manchester’s Etihad Stadium on June 3-12, 2011, earning $44.2 million. Weeks later, it ran another eight shows at Wembley Stadium from June 30-July 9, establishing a decade-long record with $61.7 million in the bank.
By a sliver of less than $1.4 million — or 2.25% — Styles takes the all-time title by playing nearly double the shows as Take That in a venue a quarter the size of Wembley Stadium. He averaged $4.2 million and 18,457 tickets per show in New York, while Take That paced $7.7 million and 77,967 tickets in London. While Styles owns the all-time gross record, Take That’s gargantuan ticket total of 623,737 secures the eight-show run as the most attended Boxscore of all time.
It would have been enough for Styles to go home after 15 nights at the Garden – those shows’ $63.1 million total nearly matches the $63.7 million that he grossed on his entire 2017-2018 Live on Tour. But he soldiered on. In addition to the opening two shows in Toronto, he played six in Austin, another six in Chicago, and 12 in Inglewood, Calif. (There were 15 shows scheduled in Inglewood, but three were rescheduled to January 2023 due to health issues.)
His Inglewood shows at Kia Forum have grossed $38.1 million, enough to be the fifth highest grossing Boxscore of all time, behind the MSG concerts, the two Take That runs, and a 10-show sweep by Bruce Springsteen at Giants Stadium in New Jersey (July 15-Aug. 31, 2003; $38.7 million). Including the three Inglewood shows to come early next year, that lump sum will likely move into third place. (The first six of those shows count toward his 2022 year-end standings, and the remaining nine will count toward 2023 charts).
Altogether, the mini-residency leg of Love on Tour has grossed $147.7 million and sold 717,000 tickets, bulking the entire tour’s totals to $298.4 million and 2.1 million. Like his MSG gross, that number also defies qualification. Love on Tour is not only the biggest tour of Styles’ solo career, but passes One Direction’s Where We Are Tour ($290.2 million), which was No. 1 on Billboard’s 2014 Top Tours chart, to become the biggest tour that he has ever hand a hand in.
In addition to the remaining three California shows, Love on Tour continues with a Latin American leg that wraps on Dec. 14 in Sao Paulo. Styles will hit Oceania and Asia in February and March, and European stadiums later in the spring.
GloRilla and Cardi B both return to No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Tomorrow 2” races 5-1 to lead the list dated Dec. 3. The coronation traces to the song’s 8% jump in spins that made it the most played song of the week at U.S. monitored R&B/hip-hop radio stations, according to Luminate.
As “Tomorrow 2” seizes the top slot, GloRilla goes two-for-two in terms of having her first two chart appearances both reach No. 1 on the radio ranking. Her debut entry, “F.N.F. (Let’s Go),” with producer Hitkidd, topped the list for one week in August. With the feat, she’s the first artist to do so since Tems, whose first three appearances – a featured turn on Wizkid’s “Essence,” another guest spot alongside Drake on “Wait for U” and her own “Free Mind” – all reigned on the list. Among lead acts, GloRilla is the first to open her Mainstream R&B/Hip-Hop Airplay account with two No. 1s since Ella Mai in 2018. That year, the R&B singer-songwriter sent both “Boo’d Up” and “Trip” to the top of the list.
For Cardi B, “Tomorrow 2” is her 10th No. 1 on Mainstream R&B/Hip-Hop Airplay and grants her entry as the ninth member of a select club of acts with double-digit career totals. Here’s a refreshed leaderboard of the artists with the most No. 1s on the list since it launched in 1993:
43, Drake
20, Lil Wayne
17, Chris Brown
16, Usher
13, Beyoncé
11, R. Kelly
10, Cardi B
10, Jay-Z
10, Rihanna
And as “Tomorrow 2” joins the roster, here are the rapper’s 10 No. 1s on the radio ranking:
Song Title, Artist (if other than Cardi B), Weeks at No. 1, Peak Date
“Bodak Yellow (Money Moves),” nine, Sept. 16, 2017
“No Limit,” G-Eazy featuring A$AP Rocky & Cardi B, five, Dec. 9, 2017
“I Like It,” with Bad Bunny & J Balvin, one, July 28, 2018
“Ring,” featuring Kehlani, one, Nov. 17, 2018
“Money,” five, Feb. 2, 2019
“Backin’ It Up,” Pardison Fontaine featuring Cardi B, one, March 9, 2019
“Please Me,” with Bruno Mars, six, April 13, 2019
“Up,” one, March 27, 2021
“Wild Side,” Normani featuring Cardi B, three, Jan. 1, 2022
“Tomorrow 2,” with GloRilla, one (to date), Dec. 3, 2022
Elsewhere, “Tomorrow 2” pushes 5-2 on Rap Airplay after a 14% burst in audience in the week ending Nov. 27 and steps 6-4 on R&B/Hip-Hop Airplay with a 15% hike to 15.2 million in weekly audience. Plus, it rises 15-14 on Rhythmic Airplay, following a 6% gain in weekly plays at the format.
Chris Brown moves into a tie for the third-most No. 1s on Billboard’s Rhythmic Airplay chart as “Under the Influence” crowns the list dated Dec. 3. The single climbs from the runner-up spot after a 6% increase in plays made it the most-played song the week at U.S. monitored rhythmic radio formats in the week ending Nov. 27, according to Luminate.
As “Under” tops the chart, Brown logs his 13th career No. 1 on Rhythmic Airplay. With the new leader, he equals Bruno Mars’ total for the bronze medal among all acts since the list began in 1992. The pair trail only Drake, who holds the gold with 36 No. 1s (23 of which bill him as a lead artist) and Rihanna, who is runner-up with 17 champs.
“Influence” returns Brown to the Rhythmic Airplay summit for the first time in almost two-and-a-half years, since his and Young Thug’s “Go Crazy” earned a week in charge in August 2020. Plus, as his first champ, “Run It!,” captured the crown in November 2005, he extends his span of Rhythmic Airplay leaders to 17 years and two weeks.
Here’s a rundown of Brown’s 13 No. 1s on the radio ranking:
Song Title, Artist (if other than Chris Brown), Weeks at No. 1, Peak Date“Run It!,” seven, Nov. 19, 2005“Kiss Kiss,” featuring T-Pain, five, Nov. 17, 2007“With You,” six, March 1, 2008“Get Like Me,” David Banner featuring Chris Brown, two, Aug. 2, 2008“Look at Me Now,” featuring Lil Wayne & Busta Rhymes, one, May 7, 2011“Show Me,” Kid Ink featuring Chris Brown, three, Feb. 8, 2014“Loyal,” featuring Lil Wayne & French Montana, Too $hort or Tyga, two, May 10, 2014“New Flame,” featuring Usher & Rick Ross, one, Nov. 15, 2014“Post to Be,” Omarion featuring Chris Brown & Jhene Aiko, one, July 4, 2015“No Guidance,” featuring Drake, four, Aug. 3, 2019“Heat,” featuring Gunna, one, Nov. 23, 2019“Go Crazy,” with Young Thug, one, Aug. 1, 2020“Under the Infleunce,” one (to date), Dec. 3, 2022
“Influence” caps an unusual journey to the top of rhythmic radio, as it was first released on the extended version of Brown’s 2019 LP, Indigo, but never promoted as a single. Its resurgence began earlier this year thanks to TikTok, where it went viral and soundtracked hundreds of clips on the social media app. As it leapt from TikTok to streaming services, the song climbed onto the Streaming Songs chart in early September, and given renewed fan interest, was serviced to rhythmic radio in early October. The song’s dual threat on both streaming and radio has made it a significant hit in Brown’s catalog. The track has reached No. 3 on the Hot R&B/Hip-Hop Songs chart and, this week, achieves a new No. 14 high on the all-genre Billboard Hot 100.
In addition to its success at the rhythmic format, “Influence” maintains steady progress in both the R&B/hip-hop and pop arenas. On the R&B/Hip-Hop Airplay list, it pushes 23-19 after a 16% weekly boost to 6.6 million in audience, while it holds at No. 30 on the Pop Airplay chart, though with a 7% improvement in weekly plays.
With interest growing in the fast-developing Middle East music industry, global labels body IFPI has launched a weekly streaming chart to track the popularity of singles among listeners in the region.
Charts compiler BMAT is preparing the chart, which will cover 13 countries in the MENA region: Algeria, Bahrain, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Oman, Qatar, Saudi Arabia, Tunisia and United Arab Emirates. Those markets collectively represent more than 300 million people.
IFPI is making the chart publicly available, with a top 10 announced via Instagram and Facebook, and the top 20 released every Tuesday on the Official MENA Chart website (www.theofficialmenachart.com).
IFPI says its Official MENA Chart is the first music streaming chart in the world to track music in a particular region and the first ever official chart in the Middle East and North Africa (MENA). While other music charts, including those put out by Luminate, have tracked the popularity of music in individual countries, such as India, a chart looking at streaming performance in a region is less common.
The new chart will bring more legitimacy to the Middle East’s music market, which has been historically plagued by piracy. Anghami, the first legal streaming service in the Arab world, which went public on the Nasdaq last year, offers daily and weekly charts tracking the most-streamed songs in the region.
The MENA singles chart is supported by IFPI and includes chart-eligible streams from Apple Music, Spotify, Anghami, YouTube and Deezer. IFPI says that in accordance with its global chart principles, streams from each market are “weighted to take into account the difference in economics between the free and paid tiers of streaming services and are also weighted to account for the differences in economics across countries, using IFPI’s global market measurement expertise.” Unlike many charts, the IFPI chart also lists each song’s label affiliation.
An IFPI spokesperson tells Billboard that IFPI has no plans to offer more regional charts at this time, nor to make the chart positions below No. 20 available, even as a subscriber product.
For the MENA chart’s first official week, covering Nov. 18 to Nov. 24, Nigerian artist Rema claimed the top spot with “Calm Down.” (The Virgin Music artist entered the Billboard Hot 100 on Sept. 17 for the first time with a remix of the song with Selena Gomez, which is at No. 82 on the most recent list). Five of the top 10 songs were by Arab artists, with Egyptian artist Farid at No. 2 with “بأمارة مين,” while countryman Ahmed Saad took the No. 4 position with “Wasa3 Wasa3.” (Saad held three spots in the top 20, also taking No. 8 with “El Youm El Helw Dah” and No. 19 with “Aleky Eyoun.”)
IFPI, in a press release, says that the influence of the FIFA World Cup in Qatar can be clearly seen on the MENA chart’s debut. Two songs from the official tournament soundtrack — “Arhbo” at No. 3 and Jungkook’s “Dreamers” — featured in the top 10, while Shakira’s classic “Waka Waka (This Time For Africa)” — originally released for the 2010 World Cup — charted at No. 9 and “Tukoh Taka” by Nicki Minaj, Maluma and Myriam Fares came in at No. 11.
Other international artists in the MENA Chart’s top 20 include “Unholy” by Sam Smith featuring Kim Petras at No. 6, “Under The Influence” by Chris Brown at No. 13 and “Rich Flex” by Drake and 21 Savage at No. 14.
Billboard expands its charts offering by introducing the Holiday 100 Songwriters and Holiday 100 Producers charts (dated Dec. 3), based on weekly activity on the seasonal Holiday 100.
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The Holiday 100 chart ranks the top seasonal songs of all eras via the same formula used for the Billboard Hot 100, blending streaming, airplay and sales data, and runs during the holiday season (December-January). The Holiday 100 Songwriters and Producers charts will run during the same seasonal period as the Holiday 100.
Billboard’s weekly songwriter and producer charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on a specific chart. The Holiday 100 Songwriters and Producers charts join Billboard’s 26 other songwriter and producer rankings, covering all “Hot”-named genre charts. These encompass the Hot 100 and the country, R&B/hip-hop, R&B, rap, rock & alternative, rock, alternative, hard rock, Latin, Christian, gospel and dance/electronic genres.
On the inaugural Holiday 100 Songwriters chart, Johnny Marks (who died in 1985 at age 75) rules thanks to seven songwriting credits on the Holiday 100. His seven placements encompass multiple recordings of “Rockin’ Around the Christmas Tree” (which leads his haul at No. 2), “A Holly Jolly Christmas” and “Rudolph the Red-Nosed Reindeer.”
Here’s a look at all seven of Marks’ songwriting credits on the latest Holiday 100:
Rank, Artist Billing, Title (co-writers in addition to Marks)No. 2, Brenda Lee, “Rockin’ Around the Christmas Tree”No. 4, Burl Ives, “A Holly Jolly Christmas”No. 17, Gene Autry, “Rudolph the Red-Nosed Reindeer”No. 27, Chuck Berry, “Run Rudolph Run” (Marvin Brodie)No. 40, Burl Ives, “Rudolph the Red-Nosed Reindeer”No. 44, Michael Bublé, “Holly Jolly Christmas”No. 82, LeAnn Rimes, “Rockin’ Around the Christmas Tree”
Thanks to holiday hits annually re-entering the Hot 100, Marks has also topped the all-genre Hot 100 Songwriters chart in each of the past three years, dating to the launch of Billboard’s songwriter and producer charts in 2019.
Rounding out the top five on Holiday 100 Songwriters, Meredith Willson places at No. 2, thanks to four charting versions of “It’s Beginning to Look a Lot Like Christmas”; George Michael follows at No. 3, thanks to Wham!’s “Last Christmas”; Irving Berlin ranks at No. 4, via “White Christmas” and “Happy Holiday/The Holiday Season”; and Mariah Carey starts at No. 5 powered by “All I Want for Christmas Is You.”
Lee Gillette (who died in 1981 at age 68) leads the inaugural Holiday 100 Producers chart, thanks to six production credits on the Holiday 100, led by Nat King Cole’s “The Christmas Song (Merry Christmas to You)” at No. 7 and Dean Martin’s “Let It Snow, Let It Snow, Let It Snow” at No. 9.
Here’s a look at Gillette’s six production credits on the latest Holiday 100:
Rank, Artist Billing, Title (co-producers in addition to Gillette)No. 7, Nat King Cole, “The Christmas Song (Merry Christmas to You)”No. 9, Dean Martin, “Let It Snow, Let It Snow, Let It Snow”No. 18, Nat King Cole, “Deck the Halls”No. 48, Dean Martin, “Baby, It’s Cold Outside”No. 55, Nat King Cole, “O Come All Ye Faithful”No. 91, Nat King Cole, “Joy to the World”
Rounding out the top five of Holiday 100 Producers, Owen Bradley is No. 2 (“Rockin’ Around the Christmas Tree,” “Jingle Bell Rock”); Robert Mersey, No. 3 (“It’s the Most Wonderful Time of the Year,” “Happy Holiday/The Holiday Season,” “Silver Bells,” “Do You Hear What I Hear?” “The First Noel”); Phil Spector, No. 4 (“Sleigh Ride,” “Christmas [Baby Please Come Home],” “Happy Xmas [Was Is Over],” “Winter Wonderland”); and David Foster, No. 5 (multiple covers recorded by Michael Bublé).
Lil Uzi Vert flies to his first top 10 on Billboard’s Hot R&B/Hip-Hop Songs in two years as “Just Wanna Rock” rallies 19-8 on the list dated Dec. 3. The jump comes as the song surges in streaming with residual gains in the week after its music video release.
“Rock” registered 18.1 million official U.S. on-demand streams in the week ending Nov. 24, according to Luminate, up 43% from 12.7 million in the week prior. The new total pushes the track 13-3 on the R&B/Hip-Hop Digital Song Sales chart and 22-10 on the all-genre Streaming Songs list. Consumer gains also happen in the sales realm, with “Rock” having sold 1,000 downloads in the same period. Thanks to the purchases, the tune debuts at No. 14 on R&B/Hip-Hop Digital Song Sales.
In the airplay market, the third and final metric that contributes to the Hot R&B/Hip-Hop Songs chart, “Rock” arrives on its first radio chart. The single debuts at No. 37 on Rhythmic Airplay after a 72% improvement in plays in the week ending Nov. 27 compared with the prior week. It’s moving toward making landing on the Mainstream R&B/Hip-Hop Airplay chart, as it climbs 33% in weekly plays on that format. (All airplay, regardless of format origin, contributes to a song’s ranking on the Hot R&B/Hip-Hop Songs chart.)
With “Rock,” Lil Uzi Vert secures his 12th career top 10 on Hot R&B/Hip-Hop Songs. He first visited the tier as a featured act on Migos’ “Bad and Boujee,” and last appeared in the area nearly two years ago, in November 2020, on “Drankin n Smokin,” with Future. Here’s a look at his dozen top 10 successes:
Song Title, Artist (if other than Lil Uzi Vert), Peak Position, Peak Date
“Bad and Boujee,” Migos featuring Lil Uzi Vert, No. 1 (10 weeks), Jan. 21, 2017
“XO Tour Llif3,” No. 5, April 29, 2017
“Watch,” Travis Scott featuring Lil Uzi Vert & Kanye West, No. 9, May 19, 2018
“Futsal Shuffle 2020,” No. 2, Dec. 28, 2019
“Baby Pluto,” No. 4, March 21, 2020
“Lo Mein,” No. 6, March 21, 2020
“Silly Watch,” No. 7, March 21, 2020
“P2,” No. 9, March 21, 2020
“Myron,” No. 7, March 28, 2020
“Bean (Kobe),” No. 10, March 28, 2020
“Drankin n Smokin,” with Future, No. 10, Nov. 28, 2020
“Just Wanna Rock,” No. 8 (to date), Dec. 3, 2022
Elsewhere, “Just Wanna Rock” races 15-3 on the Hot Rap Songs chart, supassing its previous high of No. 7, while rocketing 47-21 on the all-genre Billboard Hot 100.