A look at this week's Scenes 'n' Soundwaves 100 shows that there are 55 groups, (and I'm counting full bands, and established duos, and long-distance projects), and nine of this week's Top 10 are in that category. As far as the music that I listen to, bands are alive and well.
But when it comes to commercial success, it can't be further from the truth.
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| Established groups and bands are an endangered species these days. There are no established duos or groups on this week's Billboard Hot 100 |
Taking a look back at the Billboard Hot 100, it was customary to have a mix of groups and solo artists, and that indeed was the norm from the 1950's onwards to the 1990's. For every Elvis Presley , Elton John, Whitney Houston and Mariah Carey, you had The Beatles, Eagles, Fleetwood Mac and Destiny's Child. But I recently read a Billboard article, and come to think of it, it's very true, that bands rarely have hits anymore, that most of the charts are comprised of solo artists, and one-off duets.
The article, written by Elias Leight mentions that Boyz II Men, one of the all-time great bands, set a then-record of 14 weeks with "I'll Make Love To You" back in 1994. But since that time, it's been very rare to see bands top the charts. And while, yes, rock bands are passe as far as the buying and streaming public goes, hip-hop--which once boasted groups such as Run-D.M.C., Public Enemy, Wu Tang Clan, and The Fugees---are also very rare these days.
The number of groups on this week's Billboard Hot 100? ZERO. Zilch, Zip.
That is very discouraging news, especially with all the bands that I currently follow, which are trying to make a living and wishing for success. While inclusion on the Hot 100 is no longer a dream for rock and indie bands (or country and even hip-hop, for that matter), trying to make a living doing music has to be frustrating, with this road to success becoming blocked.
The article goes on to state that since 2018, groups account for only 8% of the top 10 songs on the big chart. The last band to top the Hot 100 was three years ago, with Glass Animals' "Heat Waves", the same song that currently has the longevity record of 91 weeks (which is threatened by Teddy Swims'---another solo act---"Lose Control" with 79 and counting). Even K-Pop acts like BTS haven't been a top the chart since then.
So, why? As stated in the article, the decline of rock---the genre that has produced more groups than other genres--is part of the reason. But music technology affords artists to make a fuller sound from a solo perspective without a full piece band. Even Maroon 5---one of the few bands that had recently scored on the charts--latter-era sounds give you the impression that aside from Adam Levine, the other members aren't really included in the recordings.
Promotion these days is done not by radio, but on social media, and it's an individual thing. A singular artist is trying to make their own impression by posting on Tik Tok, for an example, in an effort to be heard. And it rewards the solo artist. Even if there is a group effort, the focus is on the front person. The bands that are out there now, vying for attention are too many, and if a member--usually the front person-- really wants to be heard, he or she will step out on their own in an attempt to make a connection.
Another factor in acts having success is that a solo act, when successful gets to make a lot of money, rather than splitting it multiple ways. And for record labels, bands are more expensive to support. Even the reality competition shows, like The Voice, and American Idol, for the most part, with very few exceptions, promote solo artists and not groups.
While technology does afford a solo act to sound like a full band, the same technology can also be used in a positive way, as are Internet collectives like Orbis Max and Einsteins Dad, with musicians collaborating from across the globe, each providing their vocals or instruments. But that is the sad exception and not the rule. To have national success, it seems the solo route is the way to go.
So, if pop success has eluded multi-person acts, are specialty genres any better? That depends. A look at the current Adult Contemporary Charts shows the top ten there consisting of all solo acts. Ditto for the Hot AC chart. You have to go to the rock-oriented charts---active, alternative and Triple-A, to find mostly bands occupying the top ten and beyond. Going off the grid to many indie charts, there are mostly bands there as well, but sadly, giving the resistance of rock music, that's probably well they will stay. Beach music, thankfully, has that mix of solo acts and bands, just like in the old days.
My blog chart will always give up-and-coming (and established ones as well), a chance to be heard. The artists who make this music are dedicated to their craft, they won't give in to trends, and judging from social media posts, are happy to see that many Internet-oriented indie shows are playing their music. The fact that they are making this kind of music proves that they do it for their love of their artistry. And thankfully, when it comes to live shows---either the arena stage or the local club---bands still draw an audience.
In my opinion, the music industry is "broken". With banality once again attacking the Hot 100 (and the "good" songs have long overstayed their welcome while follow-ups are just ignored), it's time again for me to mine those "undiscovered" bands that make great music that otherwise seem to go to waste, sadly.
If you wish to read the Billboard article by Elias Leight, please click here: How Groups Disappeared From the Hot 100
SNS 100: Turning to my chart, where a majority of the acts are established duos and bands, one of those acts, Thee Sacred Souls, grab its second #1, as "My Heart is Drowning" vaults from #5. This awesome song sadly isn't on any charts....not even Triple-A, which has supported the band in the past, and sadly, this is a song not played on beach music channels. But it's a great song. The Palms' "Ghost" moves 3-2. Former number ones Moto Bandit and Monophonics are 3 and 4 respectively. A big mover into the top 10 is Tennis' "Weight of Desire" (12-5). And don't overlook Orbis Max's "Follow" moving 21-9 to take the Impact award.
Also entering the top 20 are songs by The Six Piece Suits, Moon Soul, Sofi Tukker, Jalen Ngonda and Beach Weather. Last week's two highest entries continue to advance. Last week's Top Debut, Starbuck, moves 40-24 with "Beach Radio", while Sylvia Johns Ritchie's "My Heart Knows You By Heart" garners the Mover award (60-33).
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| Deb Browning and Michael Fite's new duet, "I Never Wanted To", is this week's Top Debut at #48. |
DEBUTS: The two highest debuts are by acts that have combined for fourteen SNS #1's. The Top Debut, at #48 is the new one by Deb Browning and Michael Fite, "I Never Wanted To". Ms. Browning, of course has been the hottest artist on the blog the past several years and has the unprecedented feat of having my number one year-end song the past three years, to go along with six number ones on my blog. Fite is no slouch, either, fronting the beach outfit The Mac Daddy's Band, which scored a top ten last year with "Flip Flips and Margaritas"
As for the song, it's a good-time upbeat male-female duet as the two singers are just having a good time exchanging the palatable vocals. It's perfect for shagging, and the Tim Sidden production as usual is top notch. The horns and sax completely compliment the vocals. It seems that everything Deb touches turns to gold, and this is no exception.
The song was written by Karen Armstrong and is a tribute to the legendary beach band The Spontanes who ruled the Grand Strand in the 1960's and responsible for classics like "Ain't No Big Thing", which included Karen's father and brother. The song will be part of a CD, The Pink Beach House.
While it remains to be seen whether Deb can "four-peat" in the year-end rankings, this one will be a worthy contender, and it could rule this summer like last year's duet with Marlisa Kay Small, "Sunshine and Summertime". T-Shirts promoting the CD will have proceeds going to the Wigs For Cancer Foundation.
Right behind, debuting at #51 is the latest from The Black Keys, "The Night Before". The duo from Akron, OH, coming off four blog top twenty songs from last year's Ohio Players album, are right back with this nice, fresh number, the lead single from their forthcoming No Rain, No Flowers set. The song, no relation to The Beatles song of the same name, keeps their sound rather fresh. without straying from their classic sound, they manage to concoct a tasty, power-poppish romp. The troubles that they encountered last year with their canceled tour and change in managers appear to be resolved, as they plan on touring this year.
The Keys currently hold the record for the longest span of blog number one songs, starting with "Tighten Up" which topped the very first blog chart of August 23, 2010 to "It Ain't Over"'s last week at the top on October 9, 2022, a span of 12 years, one and a half months. Tennis threatens to break that if "Weight of Desire", currently #5, hits the top. That husband-and-wife duo first topped SNS on January 30, 2012 with "Origins", which was 13 years, one month ago, but if it does happen, "The Night Before" is good enough to take that record back. We shall see.
Justice is next with "Neverender" which features Tame Impala, which seems to be relegated to being a featured artist these days. But it doesn't matter since the song is awesome. It's a piece of lo-fi, psychedelic-sounding alt-pop. Rather dreamy, the song is going well on alternative, and you can hear the Tame Impala influence on it.
After a bit of experimentation with "YUM", Juliet Callahan comes right back with a vocal on "Intoxicated (Excuse Me)". This time, she fits in with the mainstream pop of the day. It's very rhythmic and would feel at home with artists like Dua Lipa and Arianna Grande. This talented artist is still waiting for her "big break", and it would be great to see this smokin' track do the trick.
Almost Monday debuts with "Can't Slow Down". A nice feel-good sounding song of indie-pop productions. Repeated listenings only make it better. A fun sound to rally around as the warmer weather nears. The San Diego-based band has a winner here.
With "Rescue Me" approaching the top ten, Barry Walsh returns with "The Sound". Another slice of late Brit-invasion mixed with early 70's glam permeates this one. Yet, it sounds fresh and should give the Irish singer another hit. Franz Ferdinand's 'Night and Day" is a bit reminiscent of their breakthrough hit "Take Me Out" and should make some noise.
Back across the pond, next is "Glide to Arrive", new from Sir Prize and the Twomorrow Knightz, the project of Tim Izzard. It seems that this point in time, this is Izzard's main project and Sir Prize, initially created as a Saturday morning cartoon group with glam proportions, is more of a serious mainstream glam-leaning rock this time around. Tim, though, is still having a good time here but the production is top-notch and should net him yet another hit here.
Rounding out the debut is the latest from Mumford and Sons, "Rushmere", which returns them to their alt-folk roots.
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| Soul music legend Jerry Butler, aka "The Iceman", passed away last week at the age of 85. |
REMEMBERING: This past week we lost three artists who had their mark on the charts. Fans of classic soul, in particular the beach music community are morning the death of Jerry Butler, known as the "Ice Man". Butler was originally a member of The Impressions, the group which also contained Curtis Mayfield. He first hit the charts in 1958 with "For Your Precious Love", with The Impressions. He launched his solo career with "He Will Break Your Heart", #7 in 1960 (remade as "He Don't Love You (Like I Love You)", a #1 hit in 1975 for Tony Orlando and Dawn). "Make It Easy on Yourself" (later covered by The Walker Brothers, and Dionne Warwick) was a top 20 hit in 1962. "Let It Be Me", a duet with Betty Everett, hit #5 in 1964.
Other great songs by Butler include "Mr. Dream Merchant" in 1967, a song covered by New Birth, as well as beach music legends The Castaways in the early 80's which hit on SNS a couple years back. 1968's top 20 "Never Give You Up", covered in 2010 by The Black Keys; "Only the Strong Survive", and "What's the Use in Breaking Up", both from 1969 were also big hits. He continued charting on the Hot 100 well into the 1970's and R&B into the 1980's.
Later, Butler was involved in Chicago-area government, serving as Cook County Commissioner, servicing from 1985 to 2008. He hosted several music programs that looked back at the early R&B and Doo wap eras, and as a member of The Impressions, was inducted into the Rock and Roll Hall of Fame in 1991. Butler died of Parkinson's, at the edge of 85.
Another R&B legend, who also was into jazz, was Roberta Flack. Ms. Flack had two monster hits, "The First Time Ever I Saw Your Face" in 1972 (which was Billboard's #1 for that year's end), and "Killing Me Softly With His Song", the following year. A third #1 came a year later with "Feel Like Making Love", and a #2 hit with frequent partner Donny Hathaway in 1978, "The Closer I Get To You". Born in 1958 in North Carolina and growing up in Virginia, she was part of a musical family and played piano with the choir in a local church. She augmented her piano with vocals, and it was that combination that eventually led to her success. First Take, released in 1969 was her debut, and was a fixture on the jazz charts, and also contained "The First Time Ever I Saw Your Face", which finally hit the top of the charts in 1972 thanks to its inclusion in the movie Play Misty for Me.
Ms. Flack continued recording into the 1980's with a solo hit, "Making Love" and a hit duet with Peabo Bryson "Tonight I Celebrate My Love". Her final hit came in 1991 duetting with Maxi Priest, "Set the Night to Music". She was a proponent of the 80's R&B subgenre "quiet storm" sound and earned a star on the Hollywood Walk of fame in 1999.
Roberta was also a member of the Artist Empowerment Coalition, which enables artists the right to control their own creative properties. She continued performing until 2018, while doing a concert at The Apollo Theater in Harlem, she became ill and was rushed to the hospital. In 2022 she was diagnosed with ALS and was forced to retire from singing. She died from cardiac arrest, at the age of 88.
Finally, we have Robert John, a pop singer who charted in four different decades. His first chart hit was under his given name, Robert Pedrick, "White Bucks and Saddle Shoes", which peaked at #74 in 1958, at the age of eleven. He changed his stage name to Robert John, and hit #49 in 1968 with "If You Don't Want My Love". But the 1970's brought his greatest successes. His 1972 cover of The Tokens' "The Lion Sleeps Tonight" was his first big hit, going to #3 early that year, a song that was produced by Tokens member Hank Medress. But his biggest hit came in 1979 with "Sad Eyes", which hit #1 in the early fall. The song landed at #10 on Billboard's year-end chart, but #2 on my Scenes'n' Soundwaves 1979 Top 100. He charted three more times in the early 1980's, the biggest of which was a cover of Eddie Holman's "Hey There Lonely Girl" which reached #31 in 1980. He had performed sporadically since that time, in particular a reunion concert with fellow oldies acts, in 1995.
John worked, for a time, in construction in Long Branch, New Jersey, between his 1972 and '79 hits. Robert John suffered a stroke a few years ago which he never recovered from. He was 79.
Scenes ‘n’ Soundwaves 100 Playlist
February 23, 2025
|
This Week |
Last Week |
ARTIST-Title |
Weeks on List |
|
1 |
5 |
NUMBER ONE:  Album: Got a Story to Tell |
6 |
|
2 |
3 |
12 |
|
|
3 |
1 |
13 |
|
|
4 |
2 |
13 |
|
|
5 |
12 |
3 |
|
|
6 |
4 |
11 |
|
|
7 |
6 |
15 |
|
|
8 |
13 |
4 |
|
|
9 |
21 |
TOP 20 IMPACTY OF THE WEEK:  "Follow" (Single Release) |
3 |
|
10 |
7 |
10 |
|
|
11 |
8 |
11 |
|
|
12 |
14 |
7 |
|
|
13 |
32 |
The Six Piece Suits ft. Nina
Starsong - Lovers Into Strangers |
4 |
|
14 |
10 |
14 |
|
|
15 |
11 |
24 |
|
|
16 |
31 |
5 |
|
|
17 |
23 |
6 |
|
|
18 |
18 |
13 |
|
|
19 |
24 |
7 |
|
|
20 |
25 |
5 |
|
|
21 |
26 |
6 |
|
|
22 |
17 |
17 |
|
|
23 |
20 |
12 |
|
|
24 |
9 |
20 |
|
|
25 |
40 |
2 |
|
|
26 |
15 |
12 |
|
|
27 |
19 |
25 |
|
|
28 |
33 |
6 |
|
|
29 |
36 |
7 |
|
|
30 |
37 |
5 |
|
|
31 |
16 |
13 |
|
|
32 |
38 |
7 |
|
|
33 |
60 |
MOVER OF THE WEEK:  (Single Release) |
2 |
|
34 |
22 |
17 |
|
|
35 |
29 |
25 |
|
|
36 |
41 |
4 |
|
|
37 |
30 |
17 |
|
|
38 |
39 |
6 |
|
|
39 |
28 |
14 |
|
|
40 |
48 |
3 |
|
|
41 |
44 |
3 |
|
|
42 |
47 |
5 |
|
|
43 |
27 |
15 |
|
|
44 |
34 |
16 |
|
|
45 |
52 |
4 |
|
|
46 |
45 |
6 |
|
|
47 |
35 |
9 |
|
|
48 |
--- |
TOP DEBUT:  DEB BROWNING and MICHAEL FITE "I Never Wanted To" Album: The Pink Beach House (Various Artists) |
1 |
|
49 |
55 |
4 |
|
|
50 |
57 |
5 |
|
|
51 |
--- |
The Black Keys - The Night Before |
1 |
|
52 |
59 |
5 |
|
|
53 |
53 |
6 |
|
|
54 |
54 |
5 |
|
|
55 |
64 |
3 |
|
|
56 |
69 |
2 |
|
|
57 |
46 |
23 |
|
|
58 |
58 |
7 |
|
|
59 |
62 |
5 |
|
|
60 |
42 |
12 |
|
|
61 |
51 |
6 |
|
|
62 |
67 |
3 |
|
|
63 |
63 |
6 |
|
|
64 |
72 |
3 |
|
|
65 |
43 |
13 |
|
|
66 |
85 |
2 |
|
|
67 |
50 |
9 |
|
|
68 |
71 |
4 |
|
|
69 |
79 |
2 |
|
|
70 |
61 |
26 |
|
|
71 |
66 |
5 |
|
|
72 |
--- |
Justice ft. Tame Impala - Neverender |
1 |
|
73 |
49 |
7 |
|
|
74 |
73 |
4 |
|
|
75 |
82 |
2 |
|
|
76 |
56 |
23 |
|
|
77 |
88 |
2 |
|
|
78 |
78 |
4 |
|
|
79 |
83 |
4 |
|
|
80 |
--- |
Juliet Callahan - Intoxicated (Excuse Me) |
1 |
|
81 |
74 |
5 |
|
|
82 |
--- |
Almost Monday - Can't Slow Down |
1 |
|
83 |
84 |
4 |
|
|
84 |
--- |
Barry Walsh - The Sound |
1 |
|
85 |
92 |
2 |
|
|
86 |
--- |
Franz Ferdinand - Night or Day |
1 |
|
87 |
--- |
Sir Prize and the Twomorrow Knightz - Glide to Arrive |
1 |
|
88 |
65 |
12 |
|
|
89 |
87 |
3 |
|
|
90 |
--- |
Mumford and Sons - Rushmere |
1 |
|
91 |
93 |
3 |
|
|
92 |
68 |
17 |
|
|
93 |
81 |
28 |
|
|
94 |
91 |
6 |
|
|
95 |
86 |
7 |
|
|
96 |
70 |
12 |
|
|
97 |
80 |
8 |
|
|
98 |
76 |
7 |
|
|
99 |
94 |
Sylvia Johns Ritchie -I Don't
Care Who Knows ( I Love My Baby) |
20 |
|
100 |
75 |
12 |
Murmurs:
Dead Poet Society ft The Warning - Hurt
The Warning - Hell Y0u Call A Dream
Sweet Unrest - How Are You Feeling
Whiskey-Chitto Ramblers - Bender Coming On
Dani Zanoni- Safe Space
Inhaler - Your Hour
Phantogram - Come Alive
Tommy James - Where Did Our Love Go/You've Got To Hide Your Love Away
Morgan Wallen - I'm the Problem
Lady Gaga - Abracadabra
Billie Eilish - Wild Flower
Lucius - Gold Rush
The Kooks - Never Know
Alabama Shakes - Until There's Nothing Left
Moon Soul - Don't Change
Ashley Clark - Liberty
pMad - Feed
Roxanne Fontana - Card Throwing #2
Lucy Dacus - Ankles
Murmurs: Songs which are in the
queue for future adds onto the Scenes ‘n’ Soundwaves 100 Playlist.
|
|
Songs
with the greatest increase in favorite points over the prior week
▲Song garnered most plays
on Spotify, for the month, with a
superscript following the symbol if most played for multiple months; or if a
song was among the top 5 most plays for two months. ● Song
among top 5 most plays on Spotify.
Awards given during the last blog of each month. To qualify, the song must be currently or
have peaked in the top 40. (Until September 2024)
▲Song garnered most plays
on Spotify, for the month, with a
superscript following the symbol if most played for multiple months; or if a
song was among the top 5 most plays for two months. ● Song
among top 5 most plays on Spotify.
Awards given during the last blog of each month. To qualify, the song must be currently or
have peaked in the top 40. (Until September 2024)
●Songs garnering 25 plays
on Spotify (“Scrobbles”) according to Last.Fm (effective October 2024) ▲ Songs garnering 50 plays.
Songs
on the SNS 100 are included on the following public Spotify playlists
Scenes
‘n’ Soundwaves Top 40: Contains songs in positions 1-40 on the SNS
100
Scenes
Up and Coming: Songs From 41-100 that are moving up the
chart that have not reached the top 40
Scenes
Down and Going: Song formerly in the top 40 that are
descending but still on the SNS 100.
Scenes
Recurrents: Songs which had been in
the top 20 and/or songs on the chart 25 weeks or more, that have dropped off
the SNS 100.
