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Glass Animals‘ former five-week Billboard Hot 100 No. 1 “Heat Waves” is now the longest charting song in the list’s 64-year history, as it tallies a record-breaking 91st week on the latest Oct. 22-dated survey.
Ranking at No. 21 on the newest Hot 100, “Heat Waves” surpasses The Weeknd’s “Blinding Lights,” which logged 90 weeks on the chart in 2019-21.
Over the course of its run on the chart, “Heat Waves” also broke the record for the steadiest climb to No. 1 when it reached the summit in its 59th week in March.
“Wow, all I can say is wow, ” Glass Animals frontman Dave Bayley marvels to Billboard about the band’s achievement. “Many of you know when I wrote this song I was writing about missing someone I loved very dearly. Never in my wildest dreams did I think that it would lead to so much love and connection across the globe. You all have done that. Thank you to everyone who has helped this song reach so many people. You know who you are. Thank you.”
Here’s an updated look at the songs with the most weeks spent on the Hot 100, from to the chart’s Aug. 4, 1958 inception through the Oct. 22-dated ranking:
Most Weeks Spent on the Billboard Hot 100:
91, “Heat Waves,” Glass Animals90, “Blinding Lights,” The Weeknd87, “Radioactive,” Imagine Dragons79, “Sail,” AWOLNATION77, “Levitating,” Dua Lipa76, “I’m Yours,” Jason Mraz69, “Save Your Tears,” The Weeknd & Ariana Grande69, “How Do I Live,” LeAnn Rimes68, “Counting Stars,” OneRepublic68, “Party Rock Anthem” LMFAO feat. Lauren Bennett & GoonRock
“Heat Waves” has also spent the second-most weeks in the Hot 100’s top 40 (76), trailing only the sum of “Blinding Lights” (86), and is tied with The Kid LAROI and Justin Bieber’s “Stay” for the fourth-most weeks spent in the top 20 (57), after “Blinding Lights” (80), Dua Lipa’s “Levitating” (62) and Post Malone’s “Circles” (60).
“Heat Waves” debuted at No. 100 on the Hot 100 dated Jan. 16, 2021. The No. 1 song that week was 24kGoldn’s “Mood.” Since then, an additional 27 songs (excluding “Heat Waves”) have reached the pinnacle. From the Jan. 16, 2021-dated Hot 100 to the current, Oct. 22, 2022, chart, “Heat Waves” has ranked alongside a whopping 1,266 other songs.
“Heat Waves” is Glass Animals’ first Hot 100 hit. Over its run, it has also spent 37 weeks at No. 1 on both Hot Rock & Alternative Songs and Hot Alternative Songs, six weeks at No. 1 on Radio Songs, three weeks at No. 1 on Alternative Airplay and two weeks at No. 1 on both Pop Airplay and Adult Pop Airplay. It also reached No. 5 on Rock & Alternative Airplay, No. 7 on Adult Contemporary and No. 17 on Adult Alternative Airplay.
Of the 91 weeks that “Heat Waves” has spent on the Hot 100, 66 were shared with The Weeknd and Ariana Grande’s “Save Your Tears,” the most of any song over the former’s run. “Levitating” follows with 64 shared weeks, then “Stay” (63).
As for “Blinding Lights,” the song logged four weeks at No. 1 on the Hot 100 and set records for the most weeks spent in the top five (43), top 10 (57), top 20 (80) and top 40 (86). Its longevity helped it earn the distinction as the No. 1 title on Billboard’s Greatest of All Time Hot 100 Songs ranking.
“Blinding Lights” had held the longevity record on the Hot 100 since August 2021, when it overtook Imagine Dragons’ “Radioactive.” The latter track spent 87 weeks on the chart and had held the mark since 2014, when it surpassed Jason Mraz’s “I’m Yours” (76 weeks, 2008-09).
Steve Lacy‘s “Bad Habit” notches a third week at No. 1 on the Billboard Hot 100 songs chart, two weeks after it ascended to the summit.
Meanwhile, Morgan Wallen achieves his first top five Hot 100 hit as “You Proof” rises from No. 7 to No. 5 and Doja Cat reaches the top 10 with “Vegas” (11-10). The latter samples Big Mama Thornton’s 1953 classic “Hound Dog,” which Elvis Presley famously covered in 1956, marking the latest chart success for the iconic song.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Oct. 22, 2022) will update on Billboard.com tomorrow (Oct. 18). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Bad Habit,” released on L-M/RCA Records, tallied 42.3 million radio airplay audience impressions (up 4%), 20.1 million streams (down 2%) and 2,000 downloads sold (down 27%) in the Oct. 7-13 tracking week, according to Luminate.
The single, which Lacy solely produced and co-wrote, holds at No. 2 after five nonconsecutive weeks atop the Streaming Songs chart; keeps at its No. 7 high on Radio Songs; and falls to No. 43 from its No. 32 best on Digital Song Sales.
Lacy’s first Hot 100 No. 1, from his album Gemini Rights, which debuted as his first Billboard 200 top 10, at its No. 7 high, in July, concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an eighth week each and the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a seventh frame each. It became the first song to rule all five rankings (dating to October 2012, when Billboard‘s main genre-based song charts adopted the Hot 100’s methodology).
Sam Smith and Kim Petras’ “Unholy” repeats at its No. 2 Hot 100 high, with 23.2 million streams (down 2%), 15.2 million in airplay audience (up 55%) and 12,000 sold (up 10%). It leads both Streaming Songs and Digital Song Sales for a third week and is the first hit to top both charts in its first three weeks on each list since Olivia Rodrigo’s “Drivers License” doubled up in its first three weeks on each survey (Jan. 23, 30 and Feb. 6, 2021; it went on to spend its first four frames atop Streaming Songs).
Harry Styles “As It Was” is steady at No. 3 on the Hot 100, after 15 weeks at No. 1 – the fourth-longest reign in the chart’s history. Still, the song, which debuted at No. 1 on the April 16-dated list, extends its record for the most weeks, 28, tallied in the top three, encompassing its entire run on the chart so far.
The track also rebounds for a ninth week at No. 1 on Radio Songs (60 million in audience, up 2%). It has led the list over a span of 23 weeks (since its first week atop the chart, dated May 21), the second-longest stretch of a song reigning, after The Weeknd’s “Blinding Lights,” which led for 26 weeks over 28 weeks in 2020.
Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, holds at No. 4 on the Hot 100, after reaching No. 3.
Morgan Wallen’s “You Proof” rises 7-5 for a new Hot 100 high, becoming the country star’s first top five hit, among four top 10s. Notably, it’s the second top five hit this decade that has reached the region by appearing on, among individual-format airplay charts, only Country Airplay (as opposed to crossing over to pop and/or adult surveys); Luke Combs’ “Forever After All” launched at its No. 2 Hot 100 peak in November 2020. Both tracks gained prominence thanks to strong streaming and country radio airplay, as “You Proof” drew 13.7 million streams in the latest tracking week, as it ranks at No. 8 on Streaming Songs, and tops the Country Airplay chart for a second frame. (“Forever” hit No. 2 on Streaming Songs and No. 1 for six weeks on Country Airplay.)
On Radio Songs, “You Proof” lifts 11-10 (34.6 million, up 2%), similarly becoming just the third title to reach the top 10 by appearing on Country Airplay but on no other individual genre chart (since Radio Songs became an all-format summary in December 1998). It joins Combs’ “Forever After All,” which reached No. 10 on Radio Songs in June 2021, and Cole Swindell’s “She Had Me at Heads Carolina,” which hit No. 9 on Radio Songs earlier in October (and topped Country Airplay for four frames starting in September).
“You Proof” concurrently commands the multi-metric Hot Country Songs chart for a ninth week.
OneRepublic’s “I Ain’t Worried” keeps at its No. 6 Hot 100 best; Nicky Youre and dazy’s “Sunroof” drops 5-7, after hitting No. 4; Nicki Minaj’s “Super Freaky Girl” holds at No. 8, after it premiered atop the Aug. 27 chart, as it tops the multi-metric Hot Rap Songs chart for a ninth week; and Combs’ “The Kind of Love We Make” is stationary at No. 9 on the Hot 100, after reaching No. 8.
Rounding out the Hot 100’s top 10, Doja Cat climbs 11-10 with “Vegas.” The song, from the hit Elvis movie soundtrack, reaches the Radio Songs top five (6-5; 48.5 million, up 4%) and also drew 8 million streams and sold 2,000 in the tracking week.
Doja Cat adds her sixth Hot 100 top 10. Prior to “Vegas” and “I Like You,” she tallied “Say So,” featuring Nicki Minaj (No. 1, one week, May 2020); “Kiss Me More,” featuring SZA (No. 3, July 2021); “Need to Know” (No. 8, November 2021); and “Woman” (No. 7, this May). She boasts the most top 10s among women this decade, surpassing Taylor Swift’s five since the start of 2020 (although with Swift appearing primed to reignite that race thanks to her LP Midnights, due this Friday).
“Vegas” samples Big Mama Thornton’s “Hound Dog,” a Billboard R&B chart No. 1 for the blues legend (who passed away in 1984) nearly 70 years ago. Written by Songwriters Hall of Fame and Rock and Roll Hall of Fame inductees Jerry Leiber and Mike Stoller, Elvis Presley’s version crowned multiple Billboard charts in 1956. (The Hot 100 began Aug. 4, 1958.)
Presley’s imprint is, thus, extended in the Hot 100’s top 10. Notably, “Hound Dog” was originally released with B-side and fellow classic “Don’t Be Cruel,” also a No. 1 on multiple Billboard surveys in 1956, and Cheap Trick’s faithful cover of the latter hit No. 4 on the Hot 100 in October 1988. Earlier in 1988, Pet Shop Boys likewise sent their interpretation of “Always on My Mind” to No. 4 (that May), after Presley’s ballad version hit No. 16 on Hot Country Songs in 1973. In July 1993, UB40’s take on “Can’t Help Falling in Love,” which Presley took to No. 2 on the Hot 100 in 1962, began a seven-week reign.
The late Presley himself appeared on the Hot 100 as recently as January 2021, when his holiday perennial “Blue Christmas,” originally from 1957, hit a No. 33 high, after becoming his highest-charting entry since 1981.
“Vegas” (a noteworthy hit in Tupelo, Miss.) additionally becomes Doja Cat’s sixth No. 1 on the Pop Airplay chart. It replaces “I Like You” atop the tally, making her the first artist to dethrone themselves at the summit since Ariana Grande’s “34+35” directly followed her “Positions” to the top in February 2021.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 18).
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.
British singers Paul Heaton and Jacqui Abbott, formerly with the Beautiful South, earn their second U.K. chart crown as a duo as N.K-Pop debuts at No. 1.
N.K-Pop led at the midweek point and does enough to cross the finish line first.
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As members of the Beautiful South, the English artists earned three leaders, with Carry On Up The Charts – The Best Of (from 1994), Blue Is The Colour (1996) and Quench (1998).
Heaton and Abbott also reached No. 1 as a pairing with their last album, 2021’s Manchester Calling.
Coming in at No. 2 on the Official U.K. Albums Chart is alt-pop outfit Easy Life, with Maybe In Another Life…, an effort that equals the Leicester band’s best chart placing, set with 2021’s Life’s a Beach.
Maybe In Another Life… is the week’s best-seller on vinyl.
Beyoncé’s Renaissance rebounds, partly due to the viral success of album track “Cuff It,” which lifts 10-5 on the singles survey, for a new high. Renaissance improves 20-7 on the Official Albums Chart, published Oct. 14.
U.S. pop singer Charlie Puth bags a third U.K. top 10 album with Charlie, new at No. 9.
Further down the tally, veteran rockers the Cult enjoy their first top 20 appearance since 2016, as Under The Midnight Sun shines at No. 15. Midnight Sun is the Ian Asbury led-band’s 11th full length album.
Ahead of the Mercury Prize ceremony, for which it’s shortlisted, a vinyl reissue of Sam Fender’s 2021 LP Seventeen Going Under, blasts 37 places to No. 16. Seventeen Going Under is Fender’s second chart leader, following his 2019 debut Hypersonic Missiles. The Mercury Prize will be announced Oct. 18 at Eventim Apollo, in Hammersmith, London. Fender has good form at industry awards. He won the Critics’ Choice Award at the 2019 BRIT Awards.
Another classic record on the up thanks to a re-issue is Pink Floyd’s Animals (2018 Remix), which vaults 90-21 following the release of a deluxe gatefold edition.
Canadian indie pop outfit Alvvays earn a second top 40 album with Blue Rev, new at No. 27, a career best.
Finally, as Swifties gear-up for the release of Midnights, her 10th studio album this Friday (Oct. 21), several Taylor Swift albums enjoy spikes on the latest frame. 1989 improves 41-31, and Lover lifts 45-35.
Sam Smith and Kim Petras make it a hattrick as “Unholy” (via EMI) claims a third consecutive week at No. 1 in the U.K.
The track draws level with Smith’s 2017 single “Too Good At Goodbyes” as their second-longest-running No. 1 hit, with both songs boasting three straight weeks at the summit.
Of Smith’s eight U.K. No. 1s, none has logged more time at the top than their “Promises” collaboration with Calvin Harris, at six weeks.
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“Unholy” leads an unchanged top three, ahead of David Guetta and Bebe Rexha’s “I’m Good (Blue)” (via Parlophone) and Lewis Capaldi’s “Forget Me” (Vertigo), respectively.
Beyoncé’s “Cuff It” (Columbia/Parkwood Ent) is enjoying a renaissance after going viral on social media. The single lifts 10-5 for a new chart high in its 11th week on the Official U.K. Singles Chart.
Also on the rise is Anne-Marie and Aitch’s “Psycho” (Atlantic), up 12-9 for its first stint in the top 10. “Psycho” leads Aitch’s three appearances in the top 40 of the latest U.K. chart frame, published Friday, Oct. 14, with Ed Sheeran collab “My G” (Asylum/Capitol) up 16-14, and Tion Wayne alliance “Let’s Go” (Atlantic) debuting at No. 30.
Another song on the rise after turning viral on TikTok is Tom Odell’s 2010 release “Another Love,” up 18-13. That’s the highest chart position for the track since July 2013, and it’s closing in on its peak of No. 10. The debut from the BRITs Critics Choice winner began trending alongside protest videos, including tributes in response to the death of 22-year-old Iranian woman Mahsa Amini in suspicious circumstances.
A slew of singles rise on the latest survey, including Lizzo’s “2 Be Loved (Am I Ready)” (via Atlantic), up 20-16; Rema’s “Calm Down” (Mavin) up 21-17; Burna Boy and Ed Sheeran’s “For My Hand” (Atlantic) up 19-18; Cian Ducrot’s “All For You” (Polydor) up 23-19; Venbee and Goddard’s “Messy In Heaven” (Columbia) up 38-20 and d4vd’s “Romantic Suicide” (DVD4) 31-22.
The highest new debut on the latest frame belongs to Mimi Webb, as “Ghost Of You” (Epic) starts at No. 23. Lifted from her forthcoming debut album Amelia, “Ghost Of You” is Webb’s fifth top 40 appearance.
Finally, Oliver Tree and Robin Schulz snag a top 40 debut with “Miss You” (Atlantic), new at No. 28. It’s Tree’s highest chart position in the U.K. and his second top 40 after “Life Goes On,” which last year peaked at No. 33, and it’s Schulz’ fourth appearance in the top tier.
Stray Kids ring up their second No. 1 album on the Billboard 200 — and second of 2022 — as MAXIDENT debuts atop the list (dated Oct. 22). The eight track set bows with 117,000 equivalent album units earned in the U.S. in the week ending Oct. 13, according to Luminate. The South Korean group notched its first chart-topper on the April 2 list, with its first charting effort, ODDINARY.
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Both ODDINARY and MAXIDENT were released via JYP/Imperial/Republic Records.
Maxident is the fourth album by a South Korean act to lead the Billboard 200 in 2022, following BLACKPINK’s Born Pink, BTS’ Proof and ODDINARY. In 2021, there were zero No. 1s by a South Korean act, and in 2020 there were two (BTS’ Map of the Soul: 7 and BE).
Also in the top 10 of the new Billboard 200, Takeoff and Quavo’s collaborative album, Only Built for Infinity Links, debuts at No. 7, G Herbo’s Survivor’s Remorse: Side A bows at No. 9, and Charlie Puth’s Charlie debuts at No. 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 Oct. 22, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 18). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of MAXIDENT’s 117,000 equivalent album units earned, album sales comprise 110,000, SEA units comprise 7,000 (equaling 9.61 million on-demand official streams of the set’s eight tracks) and TEA units comprise a negligible sum.
MAXIDENT’s 110,000 sold marks the fourth-largest sales week of any album in 2022. Of that sum, 97% were CD sales (107,000), while 3% were digital album sales (3,000). The set was not available in any other configuration (such as vinyl LP or cassette).
The CD configuration of the album was issued in collectible packages (10 total, including exclusive variants for Barnes & Noble, Target and the group’s official webstore), each with a standard set of internal paper items and randomized elements (such as photocards, mini posters and stickers). CD sales were also aided by autographed editions sold via the act’s webstore.
MAXIDENT bows at No. 1 on the Billboard 200 only six months and three weeks after ODDINARY opened atop the list. The last act with a shorter wait between new No. 1s was Young Thug, with six months between the Young Stoner Life: Slime Language 2 (credited on the chart to Young Thug & Various Artists; May 1, 2021, chart) and Punk (Oct. 30, 2021). The last act with a shorter wait between No. 1s excluding those co-billed with a cast of various artists was Taylor Swift, who waited a more scant four months between the first weeks at No. 1 for Evermore (Dec. 26, 2020) and Fearless (Taylor’s Version) (April 24, 2021). The last group to have a shorter wait between No. 1s was BTS, with just three months and one week between its first two No. 1s: Love Yourself: Tear (June 2, 2018) and Love Yourself: Answer (Sept. 8, 2018).
ODDINARY and MAXIDENT are Stray Kids’ first two albums to chart on the Billboard 200. Thus, the group maintains a perfect record on the list, landing No. 1 albums with its first two entries. Stray Kids made their overall Billboard chart debut in 2017 on the World Digital Song Sales chart (which ranks the week’s top-selling world music digital songs) and landed their first entry on a Billboard album chart in 2018 with Mixtape. In 2018-21, the act accumulated 10 top 10-charting albums on Billboard‘s World Albums chart (which ranks the week’s most popular world music titles). Stray Kids did not reach the all-genre Billboard 200 with any release until this April with ODDINARY, which marked the act’s first release in the U.S. through JYP’s partnership with Imperial/Republic.
MAXIDENT is mostly in the Korean language, but includes a fair amount of English lyrics. Notably, itis the 16th mostly non-English language album to hit No. 1 and the fourth in 2022. Earlier in the year, there were mostly non-English No. 1s from BTS’ mostly-Korean Proof, Bad Bunny’s all-Spanish Un Verano Sin Ti and the mostly-Korean ODDINARY.
While Stray Kids have yet to chart a song on the U.S.-based Billboard Hot 100 chart (through the most recently published list, dated Oct. 15), the group has notched a trio of songs on the Billboard Global 200 and six on the Billboard Global 200 Excl. U.S. tally. The act last charted on both lists with the ODDINARY single “Maniac,” peaking at Nos. 21 and 15, respectively.
Bad Bunny’s Un Verano Sin Ti falls to No. 2 on the Billboard 200 after 13 nonconsecutive weeks atop the list (76,000 equivalent album units earned; down 9%).
Beyoncé’s former No. 1 Renaissance rallies 6-3 with 75,000 equivalent album units (up 145%) after the wide release of its vinyl album on Oct. 7.
Morgan Wallen’s chart-topping Dangerous: The Double Album dips 3-4 on the Billboard 200 with 46,000 equivalent album units earned (down less than 1%).
Dangerous: The Double Album has now accumulated 91 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the fifth-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.
Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards):
Weeks in Top 10, Artist, Title, Year First Reached Top 10
173, Original Cast, My Fair Lady, 1956109, Soundtrack, The Sound of Music, 1965106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196091, Morgan Wallen, Dangerous: The Double Album, 202190, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Soundtrack, Oklahoma!, 195685, Peter, Paul and Mary, Peter Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(through the Oct. 22, 2022-dated chart)
The Weeknd’s compilation The Highlights falls 4-5 on the Billboard 200 with 40,000 equivalent album units earned (up 1%), while Harry Styles’ former leader Harry’s House moves 5-6 with 34,000 (down 1%).
Takeoff and Quavo’s collaborative set, Only Built for Infinity Links, bows at No. 7 with 33,500 equivalent album units earned. Of that sum, SEA units comprise 31,000 (equaling 41.13 million on-demand official streams of the set’s 18 tracks), album sales comprise 2,000 and TEA units comprise 500. It’s the second top 10-charting set for Takeoff (following The Last Rocket, No. 4 in 2018) and the second for Quavo (after Quavo Huncho, No. 2, also in 2018).
Takeoff and Quavo also comprise two-thirds of Migos, which logged three top 10s, including a pair of No. 1s in Culture and Culture II (in 2017 and 2018, respectively). Migos’ third member, Offset, is due to release a solo album on Nov. 11. He’s previously logged two top 10s on the Billboard 200 (Without Warning, with 21 Savage and Metro Boomin, No. 4 in 2017; and Father of 4, No. 4 in 2019). As for Migos, the act is on an indefinite hiatus.
Zach Bryan’s American Heartbreak is pushed down 7-8 on the Billboard 200 despite a 1% gain (to 28,000 equivalent album units).
G Herbo notches his third top 10 album on the Billboard 200 with the No. 9 debut of Survivor’s Remorse: Side A, which launches with 27,500 equivalent album units earned. Of that sum, SEA units comprise 27,000 (equaling 36.44 million on-demand official streams of the set’s tracks), album sales comprise 500 units and TEA units comprise a negligible sum. The project was initially released as a 12-track standard album on Oct. 7, and was reissued in a deluxe form on Oct. 10 with 13 additional tracks (dubbed Survivor’s Remorse: Side A & Side B).
Charlie Puth rounds out the top 10 of the new Billboard 200 with his third full-length album, Charlie, which bows at No. 10. All three of his full-length studio projects have debuted in the top 10. The new set starts with 26,500 equivalent album units earned, of which SEA units comprise 16,000 (equaling 21.26 million on-demand official streams of the set’s 12 tracks), album sales comprise 9,500 and TEA units comprise 1,000.
Charlie was preceded by a pair of top 30-charting hits on the Billboard Hot 100: “Light Switch” and “Left and Right,” the latter featuring Jung Kook (of BTS).
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.
In the long history of the Billboard Hot 100, it’s pretty rare for a specific word to appear across the title of multiple No. 1s. With the exception of “love” (because love songs have never and will never go out of style), the lack of commonalities make it impossible to say there’s a formula for crafting the title of a hit. But in digging through Billboard’s list of chart-toppers, we found another word that has surprisingly made quite the mark on the U.S. songs chart: “bad.”
The irony is obvious. While Merriam-Webster defines “bad” as “failing to reach an acceptable standard,” “morally objectionable” and “unpleasant,” musical acts across a handful of genres have defied tradition and hit No. 1 thanks to the word — and it’s happened numerous times over the decades. In 1961, Jimmy Dean’s “Big Bad John” became the first “bad” title to reach the chart’s peak. Bon Jovi did it twice in the ‘80s with “You Give Love a Bad Name” and “Bad Medicine.” And, most recently, Steve Lacy earned his first-ever Hot 100 chart-topper with “Bad Habit” in October 2022.
We have to mention that “bad” has also evolved to encompass another meaning over the years. Confusingly, in many 21st-century cases, it’s slang for something more positive (like “good,” “sexy” or “badass”) — including its use in Migos’ 2017 No. 1 “Bad and Boujee,” featuring Lil Uzi Vert.
Whether an act is using the word’s dictionary definition or its slang meaning, check out all 15 No. 1s containing “bad” in their titles, listed from newest to oldest with their “baddest” lyrics below.
Slipknot‘s The End, So Far continues the band’s string of No. 1s on Billboard’s Top Rock & Alternative Albums, Top Rock Albums and Top Hard Rock Albums charts, debuting atop all three rankings dated Oct. 15.
End bows with 59,000 equivalent album units earned in the week ending Oct. 6, according to Luminate, with 50,000 from album sales.
Each of Slipknot’s studio LPs has ruled the three charts since the lists’ inceptions (Top Rock & Alternative Albums and Top Rock Albums in 2006, Top Hard Rock Albums in 2007). Prior to End, the band, which formed in Iowa in 1995, reigned with 2008’s All Hope Is Gone, followed by 2014’s .5: The Gray Chapter and 2019’s We Are Not Your Kind.
End concurrently starts at No. 2 on the all-format Billboard 200, marking the band’s sixth top five title, and No. 1 on Top Album Sales, its fourth ruler.
Six songs from End appear on the multi-metric Hot Hard Rock Songs chart, led by current single “Yen,” which re-enters at No. 6 on the strength of 1.1 million official U.S. streams and 736,000 airplay audience impressions. The top debut from the album is “Hive Mind” at No. 12 (1.5 million streams).
“Yen” and “The Dying Song (Time to Sing)” also rank on Hot Rock & Alternative Songs at Nos. 47 and 50, respectively.
“Yen,” the album’s second radio single, has reached No. 16 on Mainstream Rock Airplay, this week placing at No. 17 with a new high in weekly plays. Preceding single “The Chapeltown Rag” hit No. 28 last December.
Daniel Johns is back in a familiar place — at No. 1 on Australia’s albums chart.
The ex-Silverchair frontman sets a chart record as FutureNever (BMG/ADA), his third solo album, returns to the summit on the ARIA Chart.
Following its release April 22, FutureNever bowed at No. 3 in Australia, then lifted to No. 1 in its third week.
Now, thanks to its release on vinyl, the album stages another return to the top.
Its 22 weeks between stays at the chart penthouse is the biggest gap for an album by an Australian artist, ARIA reports.
FutureNever, the best-seller on wax this week, earned Johns a nomination for best artist at the 2022 ARIA Awards, announced Wednesday (Oct. 12).
“To have FutureNever go to No. 1 on the ARIA Albums Chart twice in 2022 and spend 6 weeks in the ARIA Top 10 is amazing,” Johns says in a statement as the chart was published late Friday, local time.
“Thank you to the incredible people who worked on this album with me and a very special thank you to everyone who has listened to FutureNever and helped spread the word. For an album with no singles and no music videos, I’m truly grateful that the music is speaking for itself.”
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Johns’ album also lends its name to the veteran rocker’s not-for-profit FutureNeverFund, which announced it would work closely with EquiEnergy Youth, a Newcastle, Australia-based charity dedicated to helping communities reduce instances of mental health distress, self-harm and suicide risk in young people, an alliance that coincides with Mental Health Month.
FutureNever is Johns’ first solo leader in Australia, and sixth in total, including all five of Silverchair’s studio LPs, from Frogstomp through to Young Modern, a feat no other band can match.
Meanwhile, a pair of new releases impact the ARIA top five, led by Stray Kids’ Maxident (ING), new at No. 4, a debut that easily eclipses the K-pop band’s previous chart peak, No. 14 for 2021’s Noeasy.
Close behind is Charlie Puth’s Charlie (Atlantic/Warner), which debuts at No. 5, for the U.S. pop singer’s third ARIA top 10.
Beyonce’s Renaissance (Columbia/Sony) roars back into the top 10, up 29-7, following its own release on vinyl. Over on the national singles chart, “Cuff It” becomes the second Renaissance single to crash the top 10, lifting 16-8 after going viral on TikTok.
There’s no change at the top of the ARIA Singles Chart, as Sam Smith & Kim Petras’ “Unholy” (Capitol/EMI) holds at No. 1, ahead of David Guetta and Bebe Rexha’s “I’m Good (Blue)” (via Warner) and OneRepublic’s “I Ain’t Worried” (Interscope/Universal), respectively.
The highest debut on the latest singles chart, published Oct. 14, is Ed Sheeran’s ”Celestial” (Atlantic/Warner), new at No. 37. Sheeran’s latest top 40 hit will appear on the Pokémon “Scarlet” and ”Violet” games, set to rollout Nov. 18 on the Nintendo Switch.
Björk begins at No. 2 on Billboard‘s Top Dance/Electronic Albums chart (dated Oct. 15) with Fossora. The set starts with 10,000 equivalent album units earned, including 9,000 in album sales, in the Sept. 30-Oct. 6 tracking week, according to Luminate.
It’s the Icelandic songstress’ sixth top 10 dating to the chart’s 2001 inception, a run that began with Vespertine (three weeks at No. 1, 2001). Björk’s other top 10s are Greatest Hits (No. 2, 2002), Family Tree (No. 6, 2002), Volta (nine weeks at No. 1, 2007) and Biophilia (No. 1, 2011).
Björk landed five earlier titles on the Billboard 200, led by Homogenic (No. 28, 1997). Volta brought Björk her highest rank, and lone top 10 to date, on the chart (No. 9).
Concurrently, Fossora arrives on Top Album Sales (No. 7), Vinyl Albums (No. 7; 5,000 vinyl copies), Top Alternative Albums (No. 9), Independent Albums (No. 15) and the Billboard 200 (No. 100), among other tallies.
Additionally on Top Dance/Electronic Albums, Shygirl (aka Blane Muise) starts at No. 7 with Nymph (3,000 units). The U.K.-based DJ/singer has scored two hits on the multi-metric Hot Dance/Electronic Songs chart: “Sour Candy (Mura Masa Remix),” with Lady Gaga and BLACKPINK (No. 24, September 2021), and as featured on FKA Twigs’ “Papi Bones” (No. 32, this January).
Speaking of Hot Dance/Electronic Songs, Farruko flies20-12 with “Nazareno,” earning top Streaming Gainer honors following the Sept. 29 drop of a remix and video with Ankhal. The track, which reached No. 7 in June, earned 1.2 million U.S. streams, up 102%, in addition to gathering 2.6 million in all-format radio airplay audience impressions.
Shifting to the Dance/Mix Show Airplay chart, MK collects his fourth top 10 and BURNS earns its first with “Better,” featuring Teddy Swims, who adds his second (13-10). 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.)
The Killers reach No. 1 on Billboard‘s Adult Alternative Airplay chart (dated Oct. 15) with “Boy,” their third leader on the list.
The song is the Brandon Flowers-fronted act’s first No. 1 on the survey since “The Man,” which ruled for a week in 2017. The group first led with “Read My Mind” for six weeks in 2007.
In between “The Man” and “Boy,” The Killers appeared on Adult Alternative Airplay five times, paced by the No. 2-peaking “Caution” in 2020.
“Boy” has ruled three Billboard airplay charts, including two individual-format tallies. The song tops Adult Alternative Airplay as it begins descending Alternative Airplay, where it falls to No. 3 after six weeks at No. 1. “Boy” is The Killers’ first song to lead both Alternative Airplay and Adult Alternative Airplay; the band also boasts three rulers on the former, with “Boy” preceded by “Caution” in 2020 and “When You Were Young” in 2006.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Boy” led for five weeks and currently ranks at No. 3 with 3.6 million audience impressions, according to Luminate.
Elsewhere, “Boy” places at No. 23 on the multi-metric Hot Alternative Songs chart and No. 38 on Hot Rock & Alternative Songs, after reaching Nos. 12 and 17, respectively, upon its August debut. In addition to its radio airplay, the song earned 594,000 official U.S. streams in the tracking week ending Oct. 6.
“Boy” has also crossed over to Adult Pop Airplay, where it bullets at No. 33, after reaching No. 32 the week before. It’s the band’s eighth entry on the chart.
The song is currently a standalone single, having been recorded during the sessions for The Killers’ previous album, 2021’s Pressure Machine. The band is currently working on its eighth studio set.
