THE BILLBOARD HOT 100 takes the headlines this week, as it announced a change in its recurrent policy; the criteria used to remove a song that has logged a certain number of weeks on the Hot 100, and has fallen below a certain position on the chart.
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| The Billboard Hot 100 starts a new chart year with a change in its recurrent rules. |
Perhaps it was the realization that there was abundant criticism that songs were on the chart, in particular, the top 20, forever. There was very little movement, with the same songs week after week. This was basically because of current trends where radio airplay was constant, playing the same songs for months (familiarity, aside from contempt, also breeds ratings for those stations), as well constant streaming of songs, many which compose a "canned" playlist on outlets like Spotify. A song gets played a lot, such stays on the chart a lot, which in turn keeps the song on that playlist, and ad infinitum.
Previously, a song was removed from the Hot 100 if it had logged 26 weeks and dropped below #50; or if it had been on the chart for 52 weeks and dropping below #25. Songs like "Lose Control" by Teddy Swims, "Beautiful Things", by Benson Boone, "Die with A Smile", by Lady Gaga and Bruno Mars, and "A Bar Song (Tipsy)" by Shaboozey, stayed on the chart for 60 weeks or more. "Lose Control" logged a record 112 weeks, while "Beautiful Things" made it to 89 weeks. While "A Bar Song" dropped off last week because Taylor Swift's chart bomb pushed it out of the top 25, the others, because of the new ruling, are finally off the chart, and any chance of re-entering once much of Swift song's drop down (which they haven't yet), are virtually improbable, but not entirely impossible, see below.
Here are Billboards new recurrent chart criteria:
- Below No. 5 after 78 weeks
- Below No. 10 after 52 weeks
- Below No. 25 after 26 weeks
- Below No. 50 after 20 weeks
Not only does it affect the above songs falling off the chart, (and it's unlikely they will ever re-enter), but the current records for chart longevity, specifically the 112 weeks for "Lose Control", would never be broken. That song logged 80 weeks in the top ten alone, but had occasionally dipped below #10, and much of its recent activity were in the lower portion of the top 10. However, could there still be a chance, it could re-enter? The song was #6 two weeks ago, and, had Taylor Swift not had her chart blitz, it would have landed at #4. So, if some of Taylor's songs drop off in subsequent weeks (not this week, see below), could "Lose Control" re-enter if it's in the top 5? That remains a distinct possibility, so it will be interesting to see. However, with the holiday season coming up, and the annual invasion of Christmas songs, it may nip that in the bud. Speaking of that, holiday entries will still qualify if they are in the top 50 regardless of the number of weeks it had accumulated during past seasons. And Billboard will make some exceptions on a case-by-case basis.
Here are some other causalities of the new rule: Kendrick Lamar featuring SZA's "Luther" a 13-week number one that was still on the chart at #38, is now off after 46 weeks, and the #2-peaking "I'm the Problem" by Morgan Wallen, #31 after 36 weeks. Plus, several shorter-staying songs that nonetheless met the recurrent criteria.
Apparently, one of those case-by-case situations lies with Billie Eilish's "Wildflower", which I mentioned last week. The song moves 63-50, but it's been on the chart for 70 weeks. The song, from her Hit Me Hard and Soft, album, had debuted when the set dropped, but wasn't officially released as a single, her 4th from that album, until February 28. Even if you count the release date, that's still well over the 20 weeks that would remove the song. But it seems that her label just started promoting it as her new single in recent weeks, thus it could be the reason for staying on. Until her new album, I never "got" Ms. Eilish, but three of those songs made my top 20 on SNS, including "Wildflower". So it will be interesting how long the song stays on the Hot 100. "Wildflower" jumps back on the "Tremors" bubbling under listing here, incidentally.
AS FOR TAYLOR, she still dominates the Hot 100, as all of the tracks which debuted in the top 12 positions, are mostly intact this week. She still has the top two, with "The Fate of Ophelia" and "Opalite". HUNTRX's "Golden", and Alex Warren's "Ordinary", which had been running 1-2 prior to Swift's arrival, pushing them down to 13 and 14, rise back up to 3 and 4, respectively. But all of the other Taylor tracks drop those two notches, effectively giving her 12 of the top 14 this week.
One final note about the Hot 100. Effective this week, it begins a new chart year, which is very early compared to the recent years. While in the past, the chart year ran from November of the prior year to October of the current year, in more recent years, it would run from the beginning of December to the end of November, because of the automated technology in computing the chart. This would give some time to compute the year-end chart rankings. Because of this, many songs over the years, would be #1 for a given year, even though they topped a chart in the prior year. For example, "Look Away" by Chicago was #1 in late 1988, but was named the #1 song for 1989.
Last year, the end date was moved back to the beginning of November, but apparently this year, it starts, concurrent with the new recurrent rule, with this week, ending October 25, at least according to a post on a Facebook page. It's anybody's guess what Billboard's #1 song of 2025 would be. While in the past, a song which ascended during the year, like "Golden" or "Ordinary" would be in contention, songs which were on the chart for lo these many weeks...dating from the beginning of the chart period last November, may take the prize. The aforementioned "Die With a Smile", "A Bar Song" or "Luther" are the contenders. And there is "Lose Control". That was #1 for 2024 (with "A Bar Song" #2). Given that, unlike the current purge, that song was ahead of the others I mentioned, could it do the impossible and be #1 two YEARS in a row? Could happen. Stay tuned!
A big thanks to the "JKL's Billboard Hot 100 Singles" Facebook page for much of the above info!
A ROUSING END: Last week, I mentioned that the legendary Jersey Shore nightclub The Headliner, will close its doors for good. Jersey rockers The Eddie Testa Band, playing to a packed house at the club with a great ending of an era. Here is his farewell to the venue he started playing in 1980. But not to worry...his band is still active and will continue to play New Jersey clubs and venues!
SNS 100: Moving to my chart, "Pretty Lady", by North Tower maintains its #1 position for a second week. The song is either #1 or still rising on many beach surveys, and has a comfortable lead here, and is still gaining points. Role Model's "Sally When the Wine Runs Out" inches up to #2, Bradley Denniston's "HER" advances 5-3. The Jay Vons' "My Mama (She Was Right)", the former 4-weeker at #1, is now #4, and New Jersey's Real Estate inches 6-5. New to the top 10 are Pepper Creek's third entry into that area of the chart, "Carolina Tans" (11-9), while Ruth Morayniss has her second top tenner as "All I Need" (12-10).
Two new entries, both on beach music lists, advance into the top 20. Jennifer James' "Carolina's Home" gains the Impact award (26-18) making three songs with "Carolina" in the title in the top 20, while The Six Piece Suits' "He Doesn't Have a Clue" moves 29-20. Outside the top 20, The Black Keys' "Man On a Mission" grabs the Mover designation (54-32); other prime movers include last week's Top Debut, Deb Browning and Michael Fite's "Getaway Car" (40-23) and Alice Merton's "Ignorance is Bliss" (49-27).
IN THE MISTY 'MOONLIGHT': The Top Debut goes to Starbuck's "Everybody Be Dancin' II". As the title suggests, this is a new version of Starbuck's original, which peaked at #38 in 1977. While the Bruce Blackman-led project has always been referred to as a "one hit wonder" (that being the top 3 "Moonlight Feels Right"), this was originally a second top 40 entry one year later (he also had two other songs that just missed the Billboard top 40).
If you're familiar with the original version of "Dancin'", it had a sort of a "Moonlight" riff to it, but it also had a syncopated beat to it, a couple years before The Doobie Brothers used it on their "Real Love" and "What A Fool Believes" hits, as well as other songs from artists such as The Pointer Sisters and Robbie Dupree, from that time period. But Bruce was there first. The song was very innovative and should have been a much bigger hit.
However, in spite of it being released in the disco era, it had more of a pop sound. But Bruce has released a very different take on it, that probably would have felt right at home in the discos in 1977. While the lyrics are the same, the production and the pulsating disco beat are top-notch. It's a very fresh sound. If you remember the original, definitely give this one a listen.... it's like a new song (which it actually is). It's already on John Hook's Beach Music chart, which had eluded his last several releases, so beach music fans should take notice. This should put Bruce back in the top 10. It debuts at #51, far and away the Top Debut.
The indie-pop trio Almost Monday follows "Jupiter" with "Lost". Cool production, with understated vocals, but very catchy. The beat moves along, and the harmonies are awesome. Band hit my top 10 earlier this year with "Can't Slow Down", and this one should do as well.
The Pozers return with "Upon Awakening from This Dream". Their retro-indie style returns, albeit with a slower tempo until halfway through, when it enters a shoegaze-like early 1990's vibe. The ability to mix both that and their sixties-sounding style is unique. The song is on the Pop Aid 3 compilation to benefit those affected by the California wildfires.
Given Taylor Swift's chart blitz, I had to add not one, but TWO new songs from her latest album. As both "The Fate of Ophelia" and "Opalite" have been 1-2 on the chart, I am going with these two songs. While many don't like her, simply because she's successful, and while some of her songs are "dumbed down" for the pop audience, she actually is very versatile, and has tackled many styles. Her recent songs are actually pretty good, and both of these fit that bill. Within the modern pop frame, "Opalite" delivers with a very melodic and heartfelt stance. While the world wasn't watching, the current pop songs are actually decent. As for "Opalite", it has more of a steady beat (it reminds me a bit of Fleetwood Mac), and her vocals are a bit more understated. Both of these songs are well done. Despite the Hot 100 ranking order, I actually, upon first listen, put "Opalite" higher at #89 versus "Ophelia" at #93. But both should have a chance to advance.
Also doing well on the Hot 100 (and a former top five, still at #23) is "Love Me Not" by Ravyn Lenae. Another catchy top song and is non-stop and can be addicting. The chorus reminds me a bit of "Cooler Than Me" by Mike Posner. While nobody was looking, pop music got good again! It enters at #94.
Back to the alternative arena we have the band from Asheville, North Carolina, Wednesday, with "Townies". This one flashes back to the mid-90's, with Harly Hartzman sounding a bit like Courtney Love. And then I am reminded that the nineties was THIRTY years ago.
Finally at #100 is the beach music entry, "Wild Girl", by Randy Johnston. This is sort of a throwback to the early days of rock 'n' roll, but he has a jazz background as well, and he's able to meld those two styles. Has a shot at a good stay on my chart.
CHANGES: I slightly changed criteria on a couple of my public Spotify playlists. The "Scenes Up and Coming", which formerly spotlighted songs on their way up my chart but still below #40, has been changed to "Scenes 41-100 and Newbies", and will include the entire remainder of the SNS 100 below #40, as well as some interesting adds for future chart inclusion. While the playlist won't be updated every week, it will add the new songs added each week as well as considerations for future entries. As a result, I will discontinue the "Scenes Down and Going" playlist. The "Scenes Recurrents" will still feature songs that dropped off the SNS 100 but had reached top 20 and/or amassed 25 weeks on the chart.
Scenes ‘n’ Soundwaves 100 Playlist
October 19, 2025
Tremors:
101. Tate McRae, Tit for Tat
102. The Swingin' Medallions, Hit Me With Those Horns
103. Billie Eilish, Wildflower
104. The Lumineers, Asshole
Tremors: Songs which have steady
or increasing points but not enough to chart on the SNS 100.
Murmurs:
Orbis Max -Blue Confetti
Camp St. Helene - Baby Bird
Say She She - Disco Life
Wet Leg - Manageout
High Frequencies - Tonight and Every Night
SupaPurple - Eight
Einsteins Dad - Lost Love
Beach Weather - Hardcore Romance/Fake Nice
Anna Lavigne - Dark Angel
Balu Brigata - Backseat
Jelly Roll - Heart of Stone
Lady Gaga - The Dead Dance
The Jay Vons - Keep on Moving
Courtney Barnett - Stay in Your Lane
Vance Joy - Fascination in the Dark
Chelsea Curve - Never Come Down
Cigarettes After Six - Anna Karenira
Sombr - 12 to 12
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
●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
41-100 and Newbies Songs in Positions 41-100 on the SNS 100 plus
new additions
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.
