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Carrie Underwood has teamed with rock band Papa Roach to help shine a light on mental health awareness and suicide prevention. The Academy of Country Music entertainer of the year winner and the Grammy-nominated band will release a new version of Papa Roach’s song “Leave a Light On (Talk Away the Dark)” on Friday, Aug. 2.
“We were humbled that Carrie was open to our mission, and hearing the power of Carrie’s voice in that recording session we were blown away,” Papa Roach frontman Jacoby Shaddix said in a statement. “Not only is her vocal ability unequaled, but the impact of her voice brings a new meaning to our cause and will help people all over the globe. It’s an honor to have a ‘Rock Star’ bring life to this track with us.”
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“I’m such a huge fan of Jacoby and Papa Roach and was honored to be invited to record ‘Leave a Light On’ with them,” Underwood added. “It’s a beautiful song and the message behind it and the band’s mission to shine a light on suicide prevention and mental health awareness has never been more important.”
The song was recorded in Nashville, and both artists’ royalties generated from the track will aid the organization American Foundation for Suicide Prevention (AFSP). The release also raises awareness for the 988 Suicide and Crisis Lifeline in the United State and Canada.
Papa Roach first performed “Leave a Light On” in concert last year with Shinedown and Spiritbox, and in each city, the song was preceded by a video PSA delivered by Shaddix, who also pledged to donate to the AFSP on behalf of each city’s attendees, which led to a $155,000 donation at the tour’s conclusion.
To further propel support for the AFSP, the band renamed the song “Leave a Light On (Talk Away the Dark),” to correspond with the AFSP’s “Talk Away the Dark” campaign. The song spent three weeks atop Billboard‘s Rock Airplay chart in February, and reached No. 11 on the Alternative Airplay chart. To date, the band’s efforts have raised more than $250,000 for the AFSP.
“Papa Roach’s ‘Leave a Light On (Talk Away the Dark)’ has tapped into a cultural moment in which people are eager and ready for the message the song contains: that we all go through difficult times and that we can all be there for each other,” said American Foundation for Suicide Prevention CEO Bob Gebbia. “We want to thank Carrie Underwood for joining with Papa Roach to record this new, inspiring duet version, which will reach even more fans and connect them to AFSP’s Talk Away the Dark campaign. We are also incredibly grateful to Papa Roach and Carrie Underwood for their commitment to providing those struggling with their mental health information and resources that can help. These amazing artists are educating the public about the importance of taking care of our mental health, and they are generously supporting AFSP’s mission of saving lives and bringing hope to those affected by suicide.”
Throughout her career, Underwood has regularly dabbled in the rock arena, including covers of songs including Guns N’ Roses’ “Sweet Child o’ Mine” and “Paradise City,” Joan Jett’s “I Hate Myself for Loving You” and INXS’ “Never Tear Us Apart.” She also teamed with Aerosmith’s Steven Tyler during the 2011 ACM Awards to perform a mashup of her own “Undo It” and Aerosmith’s “Walk This Way.”
If you or anyone you know is in crisis, call 988 or visit the Suicide & Crisis Lifeline’s website for free, confidential emotional support and resources 24/7.
If you were born Austin Richard Post and you heard a song called “Austin” by one of your mom’s favorite country singers, and she said it was about you, chances are you’d believe her. At least that’s what Post Malone told Blake Shelton.
Speaking to American Songwriter, Shelton said that when the men were working on their new joint single “Pour Me a Drink” from Posty’s upcoming star-packed debut country album, F-1 Trillion, Malone told him that he thought Blake’s 2001 debut single was written in his honor.
“Post’s real name is Austin, and he told me that when he was a kid, his mom told him that that song was written about him,” Shelton said of the 29-year-old rapper-turned-country crooner who would have been a first grader when Blake released his self-titled debut album. “That’s what he told me, and he said he believed it. His mom was, I guess, the country music fan in the family, and his dad was the rock guy. So, I guess that’s how Post Malone was created.”
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In the chorus of the twangy ballad about a lost love who moves to the Texas town, Shelton sings in the voice of his former girlfriend, crooning, “And by the way, boy, this is no machine your talkin’ to/ Can’t you tell, this is Austin, and I still love you.”
Malone and Shelton seem like they’re having a blast on “Pour Me a Drink,” a party tune about tipping one (or four) up with your pals and forgetting about your mistakes. “Guess I really went and messed it up again Now, my baby’s goner than the Tulsa wind/ Judgin’ by the stone-sober state I’m in/ Need to crack one wide open,” Shelton sings, with Malone adding on the chorus: “Somebody pour me a drink, somebody bum me a smoke/ I’m ’bout to get on a buzz, I’m ’bout to get on a roll.”
Shelton said he had a great time recording the song with Texas-bred Malone and now that they’ve hung out he can understand why his new pal is such a mega-selling/streaming artist. “I didn’t because at the end of the day, I just, for whatever reason, he asked me to do it—I’m proud,” Shelton said. “I’m proud of that record. I’m proud to have worked with him. I think he’s an incredibly talented guy. Now that I’ve spent some time with him, it’s no mystery to me that he’s as huge as he is as an artist and successful as he is because he’s just somebody that you just love being around. He’s just so much fun.”
Malone’s F-1 Trillion (August 16) is slated to feature a number of other A-list collaborations, including songs with Dolly Parton (“Have the Heart”), Morgan Wallen (Billboard Hot 100 No. 1 smash “I Had Some Help”), Tim McGraw (“Wrong Ones”), Brad Paisley (“Goes Without Saying”), Lainey Wilson (“Nosedive”), ERNEST (“Devil I’ve Been”), Chris Stapleton (“California Sober”) and Billy Strings (“M-E-X-I-C-O”), as well as Hank Williams Jr., Luke Combs, Jelly Roll and Sierra Ferrell.
The singer recently previewed some of the songs at his Bud Light “A Night in Nashville” show at Music City’s Marathon Music Works, where he played his collaboration with HARDY (“Hide My Gun”) and with Ferrell (“Never Love Again”), as well as the previously-released “Pour Me a Drink” alongside Shelton.
Eric Church, Vince Gill, Emmylou Harris, Tyler Hubbard, Jamey Johnson, Ashley McBryde, Darius Rucker and Keith Urban are the first performers announced for the 2024 ACM Awards, which will be presented on Wednesday, Aug. 21 at the Ryman Auditorium in Nashville.
Carly Pearce and Jordan Davis are set to host the event, which will pay tribute to this year’s previously-announced honorees Walt Aldridge, Tony Brown, Luke Bryan, Alan Jackson, Shannon Sanders, Lainey Wilson and Trisha Yearwood.
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Pearce is hosting for the fourth straight year. Davis is the reigning ACM song of the year winner, having won at the May 16 show for co-writing “Next Thing You Know” with Josh Osborne, Chase McGill and Greylan James.
Brown has worked closely with both Harris, for whom he played piano, and Gill, for whom he produced many recordings, including one that won an ACM Award – “Building Bridges,” a 2006 collab with Sheryl Crow which was voted vocal event of the year.
In addition to performing on the show, Hubbard will present the ACM studio recording and industry awards portion of ACM Honors, which is in its 17th year.
Additionally, previously announced artist-songwriter of the year winner Chris Stapleton and songwriter of the year Jessie Jo Dillon will be feted at ACM Honors.
Limited tickets for ACM Honors are available through AXS, including VIP packages which include a ticket in the VIP artist section of the Ryman (first seven rows), a ticket to the VIP pre-party reception, a commemorative Hatch Show Print poster, parking, and drink tickets.
The apple doesn’t fall far from the tree! Gwen Stefani’s 15-year-old son, Zuma, recently made his country music debut at his stepdad Blake Shelton’s Ole Red Tishomingo bar and live music venue in Oklahoma, where he took the stage to perform a guitar-led rendition of Zach Bryan’s hit song, “Revival.” The teen also looked the […]
K-pop has been gathering commercial momentum in the U.S. over a decade, and this week it achieves a historic milestone on the Billboard 200. As Billboard reported on Sunday, this current chart (dated Aug. 3) marks the first time that the top two spots are both held by K-pop (Korean pop) albums. Stray Kids’ ATE debuts […]
Jelly Roll has added several new titles to his resume over the past few years, among them Billboard chart-topper, Grammy nominee, CMA Award winner and concert headliner. But earlier this week, he added a new role: Jelly Roll cut the ribbon on the Jelly Roll Music Studio at Genesee County Jail in Flint, Mich., and […]
The late Toby Keith will be posthumously inducted into the Country Music Hall of Fame later this year, but on Monday night (July 29) at Nashville’s Bridgestone Arena, nearly two dozen of the Oklahoma native’s fellow country artists offered a stirring, life-celebrating party that was equal parts rowdy, tender and patriotic — as was Keith’s own slate of hits. The Keith-honoring event took place for the taping of the two-hour NBC concert special Toby Keith: American Icon, which will air August 28 from 9 p.m. – 11 p.m. ET/PT.
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A cavalcade of his fellow country artists, including Eric Church, Jelly Roll, Lainey Wilson, Darius Rucker, Luke Bryan, Priscilla Block and Keith’s fellow Sooner State native Carrie Underwood, gathered to honor the multi-faceted entertainer’s career and towering legacy as a songwriter, singer, leader, performer, businessman, steadfast military supporter and philanthropist.
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Keith died in February at age 62 following a battle with stomach cancer. Keith worked in the oil fields before starting his Easy Money Band and playing bars around Oklahoma and Texas. After he moved to Nashville and landed a label deal in 1993 while in his 30s, he forged a three decade-plus career, becoming one of country music’s most successful artists — and ultimately doing so on his own terms, by recording his own songs, constructions that also made the most of his outsized persona.
He was known for his burly baritone, for writing or co-writing the bulk of his hits and for being as adept at crafting a heart-tugging ballad as he was at employing the clever wordplay that filled many of his up-tempo hits such as “I Love This Bar” and “As Good As I Once Was.” He amassed 20 Billboard Country Airplay hits, sold 44 million albums and earned 10 billion streams. He was inducted into the Songwriter’s Hall of Fame in 2015.
Underwood opened the show with Keith’s 1994 hit “A Little Less Talk (And a Lot More Action).”
“We are all here for one reason — this man, the big dog daddy. His music, his heart, his life. Everyone on this stage loves Toby. Tonight, we are going to have a party he’d be proud of,” Underwood declared.
And from there, those packing the Bridgestone Arena indeed proceeded to party, with the stage packed with revelers as well as the audience. A giant bar was set up in one corner of the stage, while the other — topped with an American flag set piece — gave several military members some of the best seats in the house.
Church recalled how Toby Keith invited him to play some shows with him, at a time when Church’s career was still in its early stages. “There is no way I’m standing here today without Toby Keith,” Church said, before performing Keith’s “As Good As I Once Was.” He added, “We help each other out, that’s what country music does.”
Wilson knew how to make an entrance, riding a horse through the Bridgestone crowd to the main stage before joining Jamey Johnson to sing “Beer For My Horses,” a 2003 hit for Keith and Willie Nelson.
Meanwhile, Rucker offered a full-throated, joyous rendition of “God Love Her,” recalling the support he received from Keith when Rucker prepared to release his first country project back in 2008. “He was one of the first people to reach out and let me know how welcome I am,” Rucker said.
Keith’s catalog was filled with up-tempo party songs, but especially early in his career, he was known for ballads, both heartbreaking and heart-tugging entries. Performing his 1994 hit “Wish I Didn’t Know Now,” Ashley McBryde said, “Anything he sang you believed it because he only wrote what he believed.”
Interspersed between performances were video tributes from his fellow country artists Nelson, Blake Shelton, Reba McEntire and George Strait, as well as other celebrities Keith had developed close ties with, including comedian Carrot Top and The Late Show host Stephen Colbert.
“There will never be another Toby Keith,” Shelton said in one video clip.
Elsewhere during the evening, Jordan Davis performed “I Love This Bar,” with help from Clay Walker, while Riley Green teamed with Ella Langley for “Who’s Your Daddy.” Luke Bryan donned a cowboy hat that had been given to him by his sister (who later passed away in 2007) as he performed Keith’s debut hit, “Should’ve Been a Cowboy.” Tyler Hubbard was joined by songwriters Warren Brothers and Jim and Brett Beavers, as well as Davis and Jelly Roll, elevating the party atmosphere and trading lines on the rap-tinged anthem “Red Solo Cup” (one of the rare Keith hits that Keith wasn’t a writer on), while HARDY and Brantley Gilbert teamed for the defiant, blistering “How Do You Like Me Now?”
Alongside his work as a musician, Keith’s support for the military was a cause close to his heart. Over the years, he did 16 USO Tours, visiting 18 countries and performing for an estimated 250,000 troops. A military band marched onstage during the concert to honor Keith, while chants of “U.S.A.” rose from the audience. During the tribute concert, Trace Adkins performed Keith’s heartfelt ballad “American Soldier,” and told the crowd, “Never apologize for being patriotic,” which drew another round of “U.S.A.” chants.
The evening also highlighted Keith’s work in supporting children battling cancer, through his OK Kids Korral, which started in 2014 and provides a cost-free place for families of pediatric cancer patients to stay while patients are receiving treatment at the Children’s Hospital at OU Medical Center. The Bridgestone Arena concert aided the OK Kids Korral, as well as Nashville’s Monroe Carell Jr. Children’s Hospital at Vanderbilt.
Furthermore, the evening also made it clear that Keith’s first priority was his family, including his wife Tricia, his son Stelen and his daughters Krystal and Shelley, all of whom were in attendance that evening.
Jelly Roll dedicated his performance of Keith’s “My List” to the late singer’s family, singing the tender song as photos of Keith with his family were displayed on the screen. Jelly Roll noted, “Toby inspired me to be a better American human and songwriter and inspired me to be a better father.”
Keith’s daughter Shelley took the stage to offer words of tribute to her father, saying, “My dad knew your worth isn’t measured by what you have, but by what you give,” before Krystal performed Keith’s “Don’t Let the Old Man In,” which Toby had performed in 2023 at the inaugural People’s Choice Awards.
Later on, one of the highlights of the evening was provided by Keith himself, as footage played of him in his final recording session, laying down vocals on a version of the late Joe Diffie’s “Ships that Don’t Come In,” which Keith recorded as part of HARDY’s Hixtape to honor Diffie.
“What an amazing tip of the hat and such a patriotic person and to see such a song sung so gracefully with so much feeling and with so much meaning, I’m just so thankful to be such a small part of such a cool moment,” HARDY noted.
The evening concluded as Texas native and “Pretty Heart” hitmaker Parker McCollum took center stage.
McCollum called Keith “one of the greatest country music singer-songwriters to ever live,” before welcoming the top-shelf lineup of artists back to the stage for an all-sing of another of Keith’s signature songs, the defiant hit that captured the fury many felt following the terrorist attacks of Sept. 11, 2001, “Courtesy of the Red, White and Blue (The Angry American).”
Dolly Parton‘s Dollywood Parks & Resorts experienced flash flooding on Sunday (July 28) as a heavy thunderstorm hit the area in Pigeon Forge, Tenn., over the weekend.
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The park released a statement saying, “This afternoon, Sunday, July 28, a strong thunderstorm caused flash flooding at Dollywood. With the assistance of Pigeon Forge Police and Fire Departments, park personnel directed guests to safety during the storm. At this time, one minor injury has been reported.”
The statement continued, “Dollywood is supporting guests whose vehicles were affected by this weather event, and cleanup crews have been deployed. The park is currently scheduled to open at noon on Monday, July 29. Park officials will continue to assess conditions and updates will be posted to our social media pages as additional information becomes available.”
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Billboard has reached out to Parton’s representatives for comment.
Video footage posted to social media showed the conditions at the park as attendees made their way out of Dollywood to their cars, with many walking through nearly waist-deep water. Other footage showed floodwaters running through the park’s main walkways.
Some news outlets reported that north of 4.5 inches of rain fell in the region in a short period of time, leading to the flooding at Dollywood. On Sunday, the Pigeon Forge Police Department noted that McCarter Hollow Road at the Dollywood entrance was briefly closed due to a road collapse.
Since 1986, Dollywood has drawn visitors from across the globe to experience the theme park rides, music shows and exhibits. The entertainment park has origins reaching to 1961, when Rebel Railroad first opened; the park then expanded and grew to become Dollywood. In 2023, Dollywood earned five Golden Ticket honors, with wins for best park, best guest experience, best kids area, best family coaster (for Big Bear Mountain) and best Christmas event (for Smoky Mountain Christmas).
See Dollywood’s statement about the flooding at the park below:
This week’s crop of new country music finds Post Malone continuing his winning collaborative ways with a new track with Luke Combs, while Wyatt Flores and The Castellows also team up for the new track “Sober Sundays.” Furthermore, Jordan Davis trades in his signature sentimental tunes for a dusting of flirtatious attitude in his new song, “I Ain’t Sayin’.”
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Check out all of these and more in Billboard‘s roundup of the best country songs of the week below.
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Post Malone feat. Luke Combs, “Guy For That”
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So far, the songs Post Malone has released to preview his upcoming country debut F-1 Trillion have been uptempo heaters including the Morgan Wallen hit “I Had Some Help” and the Blake Shelton collab “Pour Me a Drink.” He continues his high-octane, stadium-sized slate of anthems with this Luke Combs collaboration, in which a heartbroken guy muses that over the years, he’s amassed a network to help with almost everything — from resoling boots to designing rifles — but there’s no high-profile connection that can do the life-transformational work of changing to help convince an ex-lover to return. Post’s and Combs’ voices pair mightily and they are both co-writers on the track (with Charlie Handsome, Ernest, Hoskins, James McNair and Louis Bell). This song seems poised to join his previous collabs in surging up the country charts.
Wyatt Flores and The Castellows, “Sober Sundays”
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Two of country music’s brightest new upstarts team up for this gorgeous, piano and mandolin-inflected track. “I’ll steady your hands/ Even when they shake,” they sing, as this song centers around offering a supportive, non-judgmental refuge as a friend navigates a journey toward sobriety. Wyatt Flores has steadily been establishing his reputation as a formidable singer-songwriter with a slate of open-hearted, relatable songs such as those on his EP Half Life, while sibling trio The Castellows, with their winsome vocal blending and roots-driven arrangements, are providing a fresh, down-home, Americana-influenced sound for a new generation. Flores wrote the song with The Castellows’ Powell, Eleanor and Lily Balkcom.
Jordan Davis, “I Ain’t Sayin’”
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With previous releases such as “Buy Dirt” and “Next Thing You Know,” Jordan Davis has established a reputation for singing earnest love songs, but on his new breezy toe-tapper, he serves up a potent reminder that he knows his way around a song with some attitude, too. This sleek, groovy summer song finds Davis singing a tale of a guy who finds a lonely young woman at a bar, and he has no trouble reminding her that while he may not be a long-term lover, the guy who left her spending her time alone sure isn’t, either. Travis Wood, Steve Moakler, Mark Holman and Emily Reid crafted the song, with production from Paul DiGiovanni.
Greylan James, “Who Broke Up With You”
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Knoxville, Tennessee native James has steadily ascended the ranks as one of Music City’s top tunecrafters, penning songs recorded by artists including Kenny Chesney, Cole Swindell, Darius Rucker, Chris Janson and more, as well as his work as a co-writer on the Jordan Davis hit “Next Thing You Know,” which also earned James his first CMA nomination for song of the year. But James also possesses a voice capable of translating his songs in his own relatable, laid-back vocal. He previously released his debut single, “Young Man,” and follows it with this uptempo track that centers around someone who meets a potential lover on the dance floor and is bewildered that anyone would break up with her. “I’d hate to be him when he comes to his senses and he figures it out,” he sings over a latticework of electric guitars and relentless percussion, proving that he can not only craft hits — he can sing them just fine, too.
Tigirlily Gold, Blonde
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This sister duo was raised in North Dakota and spent years playing all-nighters, honing their sound in Nashville’s downtown bar scene. Now, they celebrate their first full-fledged album, Blonde. Scattered across the album’s 10 polished, contemporary country tracks are sassy romantic kiss-offs (“Leroy,” “Stupid Prizes”), breakup anthems (“I Tried a Ring On”), rowdy night-on-the-town soundtracks (“Shoot Tequila”) and even an ode to both Marilyn Monroe and Dolly Parton (“Blonde”). Threading all of them together is an energetic confidence and buoyant charm, while the album is underpinned by a stout adherence to heart-on-the-sleeve, slice of life songwriting.
Ryan and Rory, “This Town”
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Nashville native Ryan Follese teamed with North Carolina native Rory John Zak to create their debut, six-song EP, on which Follese co-wrote every song, five of those with his parents and fellow hit songcrafters, Keith and Adrienne Follese. Meanwhile, Zak further elevated these song constructions with his instrumental contributions, layered with swirling production and the duo’s warm, effervescent harmonies. Among the standouts on the project is “This Town,” packed with feelings of young love and wanderlust, and a desire to flee their overly-familiar hometown to “Get way on out where the lost get found.” A promising effort from this new duo.
Jeannie Seely, “Suffertime”
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Seely had a full-circle moment in recording “Suffertime” in tribute to her late friend and fellow artist, Dottie West, at Nashville’s historic RCA Studio B; she had her first recording session at the same studio, nearly six decades ago. At 84, Seely still retains much of the “country soul” style of singing; on this harmonica-laced track, she turns in a raw, forlorn vocal rendering of someone who returns to the same old places that she frequented with a one-time lover. Backed by a slate of ace musicians, she makes this 1966 West classic sound simultaneously intimate, fresh and timeless.
Twisters: The Album enters the Billboard 200 (dated Aug. 3) at No. 7. It’s the first country-dominated soundtrack to a theatrically-released film to make the top 10 on the all-genre chart since Country Strong, which reached No. 6 in January 2011.
“Twisters” is only the second country soundtrack from a theatrically-released film to debut in the top 10, after Hannah Montana: The Movie, which opened at No. 2 in April 2009. The album, which reached No. 1 three weeks later, featured star Miley Cyrus’ pop/country crossover hit “The Climb.”
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Other country-dominated film soundtracks to reach the top 10 include Urban Cowboy (No. 3 in 1980), George Strait’s Pure Country (No. 6 in 1992), Hope Floats (No. 4 in 1998), Coyote Ugly (No. 10 in 2000), O Brother, Where Art Thou? (No. 1 in 2002) and Walk the Line, from the Oscar-winning Johnny Cash biopic (No. 9 in 2006).
Twisters has already climbed higher than the soundtrack to the original Twister, which peaked at No. 28 in 1996. That Warner release was mostly rock and featured such artists as Tori Amos, Van Halen, Red Hot Chili Peppers and Stevie Nicks & Lindsey Buckingham.
The new album, released on Atlantic, features such established country artists as Luke Combs, Miranda Lambert, Kane Brown, Lainey Wilson, Shania Twain and Jelly Roll, as well as such rising stars as Bailey Zimmerman, Breland and Tanner Adell. (Notably, both albums came from the Warner Music Group family of labels.)
Twain also had a track (“No One Needs to Know”) on the Twister soundtrack. She was one of the few non-rock artists on board for that album, along with k.d. lang and Alison Krauss & Union Station. On the new album, she teams with Breland to perform “Boots Don’t.” She is the only artist to appear on both albums.
The arrival of Twisters ends a notable drought in recent months for soundtracks. Three weeks ago, the highest-ranking soundtrack on the Billboard 200 (Barbie: The Album) was way down at No. 172. That marked the first time that the highest-ranking soundtrack on the Billboard 200 had ranked that low in the more than seven years that the Billboard 200 and the Top Soundtracks chart have adhered to the same chart formula.
Since Feb. 11, 2017, both charts have ranked 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).
Twisters is the first soundtrack from any genre to appear in the top 10 since Barbie: The Album (which, like Twisters: The Album, was released on Atlantic) ended its top 10 run in September.
This marks the first time that no soundtracks appeared in the top 10 in the first six months of a calendar year since 1987. The first soundtrack to make the top 10 that year (Beverly Hills Cop II) did so in the issue dated Aug. 1.
There are only two other years since 1956 – when the Billboard 200 bowed as a regular, weekly feature – where no soundtracks appeared in the top 10 in the first six months of the year. In 1972, the first soundtrack to make the top 10 that year (Curtis Mayfield’s Superfly) did so in the issue dated Oct. 7. In 1976, the first soundtrack to make the top 10 that year (Led Zeppelin’s The Song Remains the Same) did so in the issue dated Nov. 6.
Soundtracks have been a big part of the album market since the introduction of the Billboard 200. On the first chart – March 24, 1956 – soundtracks to Rodgers & Hammerstein musicals held two of the top three spots. Oklahoma! and Carousel were No. 2 and No. 3, respectively. (A non-soundtrack, Harry Belafonte’s Belafonte, was No. 1.)
At least one soundtrack appeared in the top 10 every week from that first chart on March 24, 1956 through Dec. 22, 1958. In the mid-1960s, there was an even longer winning streak. At least one soundtrack appeared in the top 10 every week from July 25, 1964 through June 10, 1967.
Twisters ranked No. 1 at the boxoffice last weekend, but falls to No. 2 this weekend behind the new Deadpool & Wolverine. The original Twister was No. 1 for two weekends in May 1996. Isaac Chung directed Twisters, which stars Glen Powell and Daisy Edgar-Jones. Jan de Bont directed the original Twister, which starred Helen Hunt and the late Bill Paxton.