HAPPY NEW YEAR!
This is pretty unusual for me to start my first blog of the new year since I normally take a few weeks off to chill out. But watching all the charts (beach and indie) pop up on my Facebook News Feed goes to show that the music business never sleeps. While everyone came out with their year-end list (as did myself last week), time marched on and the new charts and playlists are already starting for 2026. Plus there is a record, set weeks ago on my SNS 100 that is still being extended.
 |
| MTV, which started as the first video music channel in August 1981, ended all of its music-based spinoff channels on December 31, 2025. |
The end of 2025 saw the end of a phenomenon that shaped popular music, especially in the 1980's, as MTV had called it quits, ending their music-based international channels. While the original, main channel itself still exists, music is no longer its priority (and the truth is, that it hasn't for at least twenty-five to thirty years).
When it premiered in August of 1981, MTV was an innovative addition to the music canon. From a popular music standpoint, it revitalized the audience for mainstream pop---as well as rock, R&B and the burgeoning hip-hop movement. Essentially, it was a video version of a radio station, except we had "Vee Jays" (video jockeys), instead of deejays. While music videos weren't anything new, especially in the few years leading up to this, they were released essentially to promote an artist's new song or album. There were some specialty shows that would play videos, like Pop Clips, that aired on Nickelodeon (created, incidentally, by ex-Monkee Michael Nesmith), and HBO would show a video or two between movies it aired.
The music industry was in sort of a sales slump in the late 1970's and into the early 80's. Much of what was popular was starting to skew towards adults, those who grew up on the radio dating back to the 1960's. What was needed was a fresh shot in the arm.
Actually, MTV didn't start out as a video version of top 40 radio, but more of an album rock-type format. It excluded strictly pop-oriented artists, and focusing on videos by established---and emerging-- rock artists. While that included some eclectic artists of color, many established black artists were shunned, with the exception of Prince, who was just starting to break out as a star. But it was Michael Jackson's "Billie Jean" that broke the so-called "color barrier", and soon after, ALL popular artists started getting airplay on MTV, making it a full-fledged top 40-type video station,
Radio stations, many of which had flipped to formats like Adult Contemporary, started to reemerge as top 40 stations in the wake of MTV's success, rebranded as "contemporary hit radio". The 1980's, as a result, had sort of a 60's vibe, but for a new generation. Even now, four decades later, nostalgia---which used to concentrate on two decades before, are now focused on happenings forty years ago. With the 1990's, 2000's and 2010's pretty much uninteresting from a historical standpoint (at least at this point in time), the eighties stand out, being the last, perhaps "fun" time in popular culture.
With the music industry thriving again, what happened to spark MTV's decline? While the channel had played videos 24 hours a day (and sprouting numerous video programs on other stations), perhaps to spice things up, they started airing specialty programs, some not entirely focused on music. A game show called "Remote Control", for example, dealt with more pop culture trivia, but did feature music videos as well. Other shows like "Club MTV" emulated shows like American Bandstand and Soul Train. It started featuring cartoons like Beavis and Butthead which, interjected into the storyline, shows the two characters critiquing music videos. There were music specialty shows like "Liquid Television" and "120 Minutes" for alternative music, "Headbangers Ball" for metal music, and Yo! MTV Raps for hip-hop.
But perhaps the nail in the coffin was reality programming, starting with the first season of The Real World which debuted in 1992, and a new season (or two) ran every year afterwards. As for music, it was so fragmented that the channel started resembling radio stations that existed before MTV started (and it would soon become the fragmented formats again as we hit the 1990's). By later in that decade there were very few music video hours broadcast. A daily music-intensive show, Total Request Live (TRL), hosted by future The Voice host Carson Daly, aired live, but otherwise, videos were very limited. MTV2 would debut later in the 1990's, billed as "where the music's at", but even there eventually, such programming would disappear.
MTV would eventually create several channels focused on music, such as MTV Classic, MTV Base, MTV hits, and MTV College, each focusing on a certain genre. But many cable providers didn't carry all those channels, and to the casual viewer, MTV as a music video station was dead, with reality programs such as Jersey Shore dominating its airtime. Probably the only remaining link to its music video past is its annual Video Music Awards (VMAs), which somehow still airs.
So, what was the last video featured on its music channels? Well, it was the same as the first one, "Video Killed the Radio Star" by The Buggles. Except now, it's the Internet and applications like Tik Tok and YouTube that killed video. When I featured my Top 100 of 2025 video, I always try to locate music videos for each song that makes the year-end list. But, if you noticed, a lot of the songs, don't have official music videos, instead playing over a slide, often, at most, with lyrics on it. Thus, the music video isn't as influential as it was 40 years ago.
So, the question I have is this....if MTV in its heyday---or something similar---existed in this day and age, would it have more of an effect on the Billboard Hot 100? Would there be more movement than the woeful static that the chart has become in recent years? With more avenues to discover new music from emerging artists, yet only a handful of songs stay on the chart longer and longer, can it affect more rapid movement? The trouble with that is, that the combination of radio stations playing familiar songs, streaming playlists that feature the same tired music, and outlets like YouTube and TikTok enabling you to choose what to play and when to play it, outlets like broadcast and cable channels that can only be seen at a given time, or rather inconvenient in these times.
But, MTV was an essential part of pop culture, especially in the eighties, and it will forever be linked in music history.
HOT 100: So, back to the big chart. Somehow, you can't underestimate the listening public; they have to be the smartest dumb people around. As all of the holiday entries exit this week, it's time to focus on regular music. And those listeners remember exactly how those songs ranked before the Christmas onslaught. Number one is "The Fate of Ophelia" by Taylor Swift, which picked up right where she left off before Mariah Carey rented her annual space for four weeks. It's week number nine at the top for Ms. Swift, a record for her. Huntrix's "Golden", is right back up there at #2, where it resided for much of Swift's reign (although it had been number one several weeks on its own. And number 3? You guessed it, "Ordinary" by Alex Warren. That song actually dropped off the chart last week because of the holiday onslaught; at 45 weeks, it exited because of Billboard's recent chart rules. But it's back, re-entering at #3. Olivia Dean's "Man I Need" is back at #4.
There is a pleasant surprise at #5, that being "Choosin' Texas" by Ella Langley, who shone at the recent CMA awards. While, as I mentioned last week, country is still a very popular genre, no country songs made my year-end list; however, I will add this song next week.
Other reentries into the top 10 include Justin Bieber's "Daisies", and "Mutt" by Leon Thomas. Taylor Swift's "Opalite", down to #52 last week, jumps back up to #8.
Next week, Billboard plans another change in its chart methodology, as it will be adjusting its streaming data. It will still weigh streams which listeners have a subscription, for more, as opposed for those which are ad supported (namely listeners without a paid subscription that are interspersed with ads), but that ratio will be reduced somewhat. And YouTube has elected to pull its info from the charts, thus watching a video on that platform will no longer count towards the charts. The reason for this is that, YouTube prefers that all streams have equal weight, regardless of whether listeners have a subscription or not.
It remains to be seen how this will affect the stagnation problems of the last few years, but any attempt to fix this is welcome. As the change, in the big picture is relative minor, probably not, although the removal of YouTube data should be interesting.
SNS 100: The first chart of the New Year shows pretty much the same as the final one from last year. That's because North Tower's "Pretty Lady" stays on top for an unprecedented twelfth week at #1. The song is still strong on all charts, eight of them last week all listed the song, originally done by Canadian band Lighthouse in 1973, at #1. And soon there may be more. On the monthly Beach Music Smokin' 45 chart, it moves from 3 to 2.
Except for a switch in the two and three position, with The Jay Vons' "Keep on Moving" and Anna Lavigne's "Dark Angel", the top six songs remain the same. Say She She's "Disco Life" moves 9-7, and there are two new entries in the top 10: Rhonda McDaniel's "I Can't Wait For the Weekend" goes 12-9, becoming the third top ten off her album, and Carla Geneve's "Better Believe It" moves 14-10.
In the second ten, Boston indie band The Chelsea Curve grabs the Impact award (23-14), followed closely by retro soul artist Curtis Harding's "The Power". With "The Fate of Ophelia" back at the national top spot, Taylor Swift moves back into the top 20 (26-18). Miley Cyrus' "Dream as One" from the latest Avatar movie moves 29-19.
MOVERS: The two adds from the last chart are tied for Mover of the Week: Orbis Max's "Not Getting Back with You" (79-52) and The Pozers' "The Separation" (81-54).
STARBUCK(S) COFFEE AND OTHER NEWBIES: Eleven new songs debut as I try to displace much of the holiday songs that are still lingering on the chart. While many of them are still there, many new entries abound on the chart. Leading the way is the new one by Starbuck, "Robusto". As the title suggests, this is about coffee (appropriate since the name of the group is Starbuck, right?). This is a good-timely song with a persistent dance beat; Bruce Blackman is in rare form. It enters the SNS 100 at #50. I'll order one to go!
There are two new entries by Bradley Denniston. His current, proper release, "Summer Rain" (entering at #83) is a good, mid-tempo pop tune that gets better with each listen. But the other entry, "Backbone Lover",(#65 debut) originally released in 2024, is more of a soulful number, along the lines of his blog hit "HER". Both songs should do well, but "Backbone Lover" should take off immediately. While Olivia Dean remains in Billboard's top five, I add another song of hers, "So Easy (To Fall in Love)". This is a nice easy-going song, perhaps reminiscent of early Dionne Warwick, with a little dash of Lily Allen. Sort of a bit jazzy pop here. Regardless of what the next "official" single might be, I'm going with this one. It comes in at #67.
Australian Don West had a big blog hit last year with "Small Change", returns with "Day to Night", at #68. Another soulful outing, and a little jazzy as well. While he may not get the beach airplay he did with the former single, this is still a good song for many spins......New to the chart is LA-based Drool Brothers, with "Have Fuzz Will Travel". It's from the band's current album Psychology, and is a blend of 60's garage and psychedelic pop, and 90's alternative. With bands like The Streetwalkin' Cheetahs, The Peppermint Kicks, The Chelsea Curve, and The Pozers scoring on SNS lately, the time sure seems right to focus on this style of indie music. The song enters at #69.
Next is "I Want to Be Love" by Laura Anglade, one that is firmly in the jazzy lounge mode. This is an awesome throwback to, let's day, the 1940's, but a welcome one. I can surely appreciate songs like this as a relaxing alternative. Maybe a new blog trend? It enters at #70. ...It's back to the beach for the latest from Jim Quick, "Wait for Me". The Coastline frontman (and deejay in the area) is assisted by R. Mark Black, and Allie Privette. This is a mid-tempo ballad about leaving a summer love at the end of the season, but assuring them that they'll be back at the start of next summer. While the release seems out of place in January, the song actually was released at the end of last summer; only now has it been released to Spotify. But the wait was worth it. A #71 debut for the song.
Katy Perry is back with "bandaids". Like her late 2000's/early 2010's cohort Lady Gaga, it's somewhat of a return to her glory era, but still fits in with things in 2026. It's her best single in a while, coming in at #72. Speaking of The Peppermint Kicks, they follow up "Living Doll" with "Gigantor". Readers my age might remember an anime series in the 1960's with that name, and the song is actually about that character, a "space-age" robot that you can control. I remember the theme song of that cartoon, which is not this song, but the band takes that concept and runs with it.
Next is "To Space" by Kings of Leon, a persistent, bass-driven romp that works fine, coming in at #76, and finally at #78, is David F. Porfirio's "Amarna". Returning to exotica once again, the Queens instrumentalist shows is creativity in concocting sounds from across the globe. I've said it time and time again, this guy is talented, and unique. Give it a listen!
Scenes ‘n’ Soundwaves 100 Playlist
January 4, 2026
|
This Week |
Last Week |
ARTIST-Title |
Weeks on List |
|
1 |
1 |
NUMBER ONE:  (Single Release) (12 Weeks at #1) |
17 |
|
2 |
3 |
9 |
|
|
3 |
2 |
10 |
|
|
4 |
4 |
9 |
|
|
5 |
5 |
12 |
|
|
6 |
6 |
7 |
|
|
7 |
9 |
8 |
|
|
8 |
8 |
11 |
|
|
9 |
12 |
8 |
|
|
10 |
14 |
16 |
|
|
11 |
17 |
12 |
|
|
12 |
18 |
8 |
|
|
13 |
16 |
11 |
|
|
14 |
23 |
TOP 20 IMPACT OF THE WEEK:  (Single Release) |
8 |
|
15 |
25 |
8 |
|
|
16 |
20 |
13 |
|
|
17 |
10 |
13 |
|
|
18 |
26 |
11 |
|
|
19 |
29 |
7 |
|
|
20 |
13 |
17 |
|
|
21 |
19 |
14 |
|
|
22 |
32 |
7 |
|
|
23 |
15 |
11 |
|
|
24 |
31 |
10 |
|
|
25 |
37 |
7 |
|
|
26 |
36 |
15 |
|
|
27 |
27 |
HUNTR/X
- Golden |
18 |
|
28 |
35 |
12 |
|
|
29 |
42 |
6 |
|
|
30 |
44 |
6 |
|
|
31 |
47 |
8 |
|
|
32 |
30 |
12 |
|
|
33 |
52 |
7 |
|
|
34 |
38 |
19 |
|
|
35 |
34 |
10 |
|
|
36 |
55 |
6 |
|
|
37 |
24 |
4 |
|
|
38 |
45 |
5 |
|
|
39 |
40 |
18 |
|
|
40 |
51 |
16 |
|
|
41 |
7 |
7 |
|
|
42 |
39 |
15 |
|
|
43 |
48 |
10 |
|
|
44 |
62 |
6 |
|
|
45 |
57 |
7 |
|
|
46 |
63 |
6 |
|
|
47 |
46 |
9 |
|
|
48 |
54 |
10 |
|
|
49 |
65 |
21 |
|
|
50 |
--- |
TOP DEBUT:  "Robusto" (Single Release) |
1 |
|
51 |
43 |
15 |
|
|
52 |
79 |
CO-MOVER OF THE WEEK:  Album: Unison |
2 |
|
53 |
33 |
4 |
|
|
54 |
81 |
CO-MOVER OF THE WEEK:  Album: The Sun's Going Down |
2 |
|
55 |
28 |
5 |
|
|
56 |
59 |
12 |
|
|
57 |
67 |
27 |
|
|
58 |
69 |
12 |
|
|
59 |
11 |
5 |
|
|
60 |
61 |
16 |
|
|
61 |
56 |
Johnny O and the
Pocket Rockets - Double Shot (Of My Baby's Love) |
13 |
|
62 |
68 |
21 |
|
|
63 |
73 |
The
Tams - My True Love● |
24 |
|
64 |
21 |
6 |
|
|
65 |
--- |
1 |
|
|
66 |
71 |
28 |
|
|
67 |
--- |
1 |
|
|
68 |
--- |
1 |
|
|
69 |
--- |
1 |
|
|
70 |
83 |
14 |
|
|
71 |
--- |
1 |
|
|
72 |
--- |
1 |
|
|
73 |
--- |
1 |
|
|
74 |
85 |
5 |
|
|
75 |
--- |
1 |
|
|
76 |
--- |
1 |
|
|
77 |
22 |
6 |
|
|
78 |
--- |
1 |
|
|
79 |
64 |
3 |
|
|
80 |
86 |
27 |
|
|
81 |
74 |
12 |
|
|
82 |
90 |
13 |
|
|
83 |
--- |
1 |
|
|
84 |
50 |
4 |
|
|
85 |
41 |
Lindsey Sterling
ft Sabrina Carpenter - You're a Mean One, Mr. Grinch |
4 |
|
86 |
72 |
16 |
|
|
87 |
89 |
The
Swingin' Medallions - Hit Me With Them Horns |
7 |
|
88 |
49 |
5 |
|
|
89 |
76 |
9 |
|
|
90 |
94 |
9 |
|
|
91 |
77 |
17 |
|
|
92 |
95 |
21 |
|
|
93 |
100 |
6 |
|
|
94 |
66 |
4 |
|
|
95 |
80 |
11 |
|
|
96 |
53 |
5 |
|
|
97 |
58 |
6 |
|
|
98 |
60 |
Pentatonix and
Frank Sinatra - I've Got My Love To Keep Me Warm |
6 |
|
99 |
75 |
Sylvia Johns
Ritchie and Rivermist - Down Home Old Fashioned Christmas |
10 |
|
100 |
88 |
10 |
Murmurs:
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
|
Holiday Songs
●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.
(Rob Sheldon is a music fan who has followed music trends the past 60 years, and covers new and classic music, specializing in pop, rock, alternative, beach, soul and country genres). He can be contacted at rsheldonx4804@gmail.com
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