Billboard Hot 100: 11/16/2013

[Deleted]

Nov 7, 2013 18:05:29 GMT -5 @2m said:

7th single. Everyone alreday had the album at least once. It would have done better as the lead single or at least in the first couple

True enough. But they still pulled out all the stops for it. I remember seeing the video advertised for weeks before the actual premiere date.

[braveheart]

can we expect a top 20 debut on the hot 100 for a great big world/christina aguilera duet ?

[Libra]

Nov 7, 2013 17:35:25 GMT -5 imbondz said:

I remember when Thriller flew up the charts to #4, then stopped. I never understood how that song didn't get to #1. It was huuuuuuuuuge when it was released, because of the video. Todays charts it would have been #1 for months.

I wonder if its late (physical) single release played a part? Under any kind of modern methodology, it would certainly have had a good chance at going like any "suppressed" single that shot right to #1 upon release. But, under the methodology of the time, it might have been "reported" as not having as much sales/airplay as it really had.

[renfield75]

Nov 7, 2013 9:27:11 GMT -5 @peigan68 said:

Most #1's on the Hot 100 under new rules:

Paul McCartney 29
George Harrison 23
John Lennon 22
Ringo Starr 22
The Beatles 20 (as a group)
Mariah Carey 18
Diana Ross 18 (With the Supremes and her solo career)
Michael Jackson 17 (With The Jackson 5 and his solo career)
Michael Jackson 13 (solo career only)

and so on...


Kind of confusing actually.

Let's make it even more confusing...MJ and Diana each get another #1 thanks to "We Are The World." Both had featured vocals on that song. If "Somebody's Watching Me" had moved past number 2 Michael could've added that too.

[renfield75]

Nov 7, 2013 10:25:23 GMT -5 Adonis the DemiGod! said:

Nov 7, 2013 9:04:39 GMT -5 @peigan68 said:

What an erroneous assumption. There was plenty of competition back then, the Beatles just steam rolled over all of it when they arrived on the chart. They were that popular in the early months of 1964, when they literally changed the face of popular music almost overnight. They also set off the British Invasion, and pop music in the United States was literally never the same.

Like i said there was no competition. There wasnt as many genres or artists or things to compete with peoples attention.

You're still wrong man. There were 177 top 40 hits in 2011. There were 302(!) in 1964. Turnover was much faster, with dozens of new singles from hot artists competing for chart space every 3-4 months. The Beatles dominated over The Rolling Stones, The Supremes, The Temptations, Stevie Wonder, Marvin Gaye, Aretha Franklin, The Kinks, The Four Tops, Bob Dylan, The Beach Boys, etc. Not to mention hit makers of the era like Lesley Gore, Gerry & The Pacemakers, Martha & The Vandellas, and others. In many ways it was the fiercest competition in pop music history, and managing to crush it so thoroughly is no small feat.

Honestly, the fact that people have so many options now makes competition for Hot 100 space less fierce; dominating the mainstream is easy when everyone can tailor a Pandora station or Spotify playlist to whatever they like. I know many music fans who have never heard of Lorde because it's easy to tune out mainstream top 40 if they want. The Beatles and every other act in 1964 had the radio and Ed Sullivan and that was it, so competition for those spots was precious and hard won.

[Deleted]

More or less what I said a page or so ago. I think he is confusing fragmented genres with more competition. Turnover rates were much higher

[Deleted]

Nov 7, 2013 22:42:36 GMT -5 @2m said:

More or less what I said a page or so ago. I think he is confusing fragmented genres with more competition. Turnover rates were much higher

The radio turnover rate was much faster back then. Radio stations didn't hold on to songs for months and months back then like they do today. Believe it or not, radio DJs used to play "oldies" every now and then, and when they did they ended up playing songs that had been hits just mere months earlier!

And since radio back then (like now) was a major component of the Hot 100, the chart moved much faster back then as well.

[imbondz]

The Beatles had 7 other songs in the top 100 that same week, and the following week, 2 more debuted.

[Adonis the DemiGod!]

Nov 7, 2013 22:03:03 GMT -5 renfield75 said:

Nov 7, 2013 10:25:23 GMT -5 Adonis the DemiGod! said:

Like i said there was no competition. There wasnt as many genres or artists or things to compete with peoples attention.

You're still wrong man. There were 177 top 40 hits in 2011. There were 302(!) in 1964. Turnover was much faster, with dozens of new singles from hot artists competing for chart space every 3-4 months. The Beatles dominated over The Rolling Stones, The Supremes, The Temptations, Stevie Wonder, Marvin Gaye, Aretha Franklin, The Kinks, The Four Tops, Bob Dylan, The Beach Boys, etc. Not to mention hit makers of the era like Lesley Gore, Gerry & The Pacemakers, Martha & The Vandellas, and others. In many ways it was the fiercest competition in pop music history, and managing to crush it so thoroughly is no small feat.

Honestly, the fact that people have so many options now makes competition for Hot 100 space less fierce; dominating the mainstream is easy when everyone can tailor a Pandora station or Spotify playlist to whatever they like. I know many music fans who have never heard of Lorde because it's easy to tune out mainstream top 40 if they want. The Beatles and every other act in 1964 had the radio and Ed Sullivan and that was it, so competition for those spots was precious and hard won.

We all know that amount of turnover has nothing at all to do with the amount competition particularly in a time period where there was high turnover on the charts. We are by far way more global in nature as it relates to the artists so there is competition from that. Also note that a digital hit nowadays could come from a commercial, tv show, viral video.... soundscan & the internet has democratized the music industry far more than it was back when the Beatles were around. There is far more competition now than there ever was back in the 60's regardless of the chart turnover back then. I trust the charts today being much more accurate on sales and airplay and other measurements VS say 40-50 years ago.

A better measurement would be to track the number of singles releases people had access to in the US in the 1960's vs the number of song releases people have access to in the US today. Like I said it's not even close. We have way more competition now than there ever was when the Beatles were at their prime.

[HolidayGuy]

Obviously the digital age has resulted in more availability of tracks compared to physical singles. But, in terms of viable competition- meaning, releases/tracks that are not one- or two-week wonders or that are serious radio contenders- is there much of a difference, in terms of competition? Perhaps not.

[Deleted]

Tracks stay on the chart longer now: for one of two reasons:

1. They are just that big and bigger than anything released in the 60s
2. There is nothing to replace it.

I tend to go with the latter.


The turnover rate implies a lack of competition

[HolidayGuy]

^And also BDS/SoundScan methodology, as well as the later addition of streaming, absolutely has led to overall longer chart lives.

[areyoureadytojump]

www.billboard.com/biz/articles/news/5785644/chart-moves-passenger-goes-for-a-ride-michael-jacksons-thriller-returns

Chart Moves: Passenger Goes For A Ride; Michael Jackson's 'Thriller' Returns; Korn Collects First Mainstream Rock No. 1

By Gary Trust, New York | November 08, 2013 10:04 AM EST

As previously reported, Lorde's "Royals" crowns the Billboard Hot 100 for a sixth week and Eminem and Rihanna blast in at No. 3 with "The Monster." Who else makes regal moves on song charts this week?



-- Passenger: The singer/songwriter (aka, Mike Rosenberg) shoots 17-12 on the Hot 100 as the chart's top Streaming Gainer after contestant Cole Vosbury performed "Let Her Go" on the Oct. 28 episode of NBC's "The Voice." Vosbury's version enters Hot Rock Songs at No. 15 (36,000 downloads sold, according to Nielsen SoundScan), while Passenger's original jumps 5-3 on the ranking as the top Digital Gainer (139,000, up 65%) and Streaming Gainer (2.4 million U.S. streams, up 26%, according to Nielsen BDS).

-- Pitbull: His Ke$ha collaboration "Timber" (up 35-20 on the Hot 100) gains in all three of the chart's metrics. It rises 19-17 on Hot Digital Songs (84,000, up 33%) and 60-46 on Hot 100 Airplay (29 million audience impressions, up 33%) and debuts on Streaming Songs at No. 46 (1.3 million, up 45%).

-- Lady Gaga: Her "Applause" spends its 12th week in the Hot 100's top 10 (7-10), encompassing its entire chart life and marking her longest such streak; 2011's "Born This Way" spent its first nine frames in the top 10. Meanwhile, new ARTPOP (Nov. 11) preview cut "Venus" bows at No. 32 with 108,000 sold.

-- The Neighbourhood: "Sweater Weather" reaches the Hot 100's top 40 (42-33) in its 21st week, as its pop crossover success follows its peak at rock radio. It lifts 21-18 on Mainstream Top 40 after topping Alternative for 11 weeks. It also gains in sales (47,000, up 11%) and streaming (1.4 million, up 8%).

-- Justin Bieber: After the first three releases from his "Music Mondays" series hit the Hot Digital Songs top 10, fourth offering "Recovery" begins at No. 15 with 94,000 downloads sold. A recap of how each prior song in the series has sold in its first week: "Heartbreaker" (182,000); "All That Matters" (127,000); and "Hold Tight" (111,000). On the Hot 100, "Recovery" opens at No. 41.



-- Michael Jackson: The late King of Pop's "Thriller" re-enters Hot R&B/Hip-Hop Songs at No. 14. The classic cut peaked at No. 3 on the list on March 10, 1984, during its initial 14-week chart run. Now a staple during Halloween celebrations, "Thriller" rose by 51% to 35,000 downloads sold and 82% to 2 million domestic streams. "Thriller" returns to the Hot 100 at No. 42; it originally peaked at No. 4.

-- Florida Georgia Line: "Stay" rises 14-8 on Hot Country Songs to become the duo's fourth song to reach the upper region. Concurrently, the pair's "Cruise" falls below the top 10 and is removed (per recurrent rules) following an unprecedented pair of longevity feats in the chart's almost 70 years: 66 total chart weeks and 24 of those at No. 1. Following "Cruise," Florida Georgia Line reached the Hot Country Songs top 10 with the No. 5-peaking "Get Your Shine On" and the No. 3 hit "Round Here." All four songs appear on the act's debut full-length album "Here's to the Good Times," which has spent eight weeks at No. 1 on Top Country Albums and sold 1.2 million copies. On the Hot 100, "Stay" jumps 71-62.

-- Rihanna: She scores her 21st No. 1 on Dance Club Songs with "What Now" (2-1), padding her lead over Janet Jackson (19) for the second-most toppers in the chart's 37-year history. Madonna leads with 43 No. 1s. Remixes from R3hab, Firebeatz and Guy Scheiman contribute to Rihanna's latest triumph. "What Now" lifts 96-83 in its second week on the Hot 100.

-- Donna Summer: The late diva returns a classic to Dance Club Songs, as "MacArthur Park 2013" debuts at No. 39. She spent five weeks at No. 1 on the survey in 1978 with her original "MacArthur Park Suite." New remixes from Laidback Luke power Summer's posthumous club play.



-- Korn: The veteran band collects its first No. 1 on the Mainstream Rock airplay chart, as "Never Never" rises 3-1. Of the band's previous 25 visits to the tally dating to its first in 1998, it had risen as high as No. 3 with 2006's "Twisted Transistor."

-- Pearl Jam: On Alternative, the group logs its 19th top 10, and first in more than three years, as "Sirens" climbs 11-9. Pearl Jam had last reached the region with the No. 6-peaking ballad "Just Breathe" in 2010. Only four acts have racked more top 10s in the chart's 25-year archives: Red Hot Chili Peppers (24), U2 (23) and Foo Fighters and Green Day (20 each).

[surreallife]

Nov 8, 2013 10:24:47 GMT -5 @2m said:

Tracks stay on the chart longer now: for one of two reasons:

1. They are just that big and bigger than anything released in the 60s
2. There is nothing to replace it.

I tend to go with the latter.


The turnover rate implies a lack of competition

I agree with Adonis that there were fewer genres in 1964, but I think the biggest difference between 1964 and today is the domination of radio by large corporations (e.g. Clear Channel) which makes playlists more homogenous, and the lack of small individual record labels that in the mid 1960s gave unkown music acts a chance to breakout.  The post Beatles 60s HOT100 was a unique time that will likely never be repeated.

As for the Beatles record of the top 5 singles, that was combination of Brian Epstein contracting with more than one record label (Capitol, Swan, Vee-Jay, etc.) in 1963 in an effort to break the band in the USA, and "Beatlemania" which really was mania if the concert footage is anything to go by (teenage girls fainting in droves).

[Deleted]

I agree there are more genres now than then. Fewer genres does not necessarily = lack of competition though.

[Deleted]

Nov 8, 2013 11:30:36 GMT -5 surreallife said:

Nov 8, 2013 10:24:47 GMT -5 @2m said:

Tracks stay on the chart longer now: for one of two reasons:

1. They are just that big and bigger than anything released in the 60s
2. There is nothing to replace it.

I tend to go with the latter.


The turnover rate implies a lack of competition

I agree with Adonis that there were fewer genres in 1964, but I think the biggest difference between 1964 and today is the domination of radio by large corporations (e.g. Clear Channel) which makes playlists more homogenous, and the lack of small individual record labels that in the mid 1960s gave unkown music acts a chance to breakout.  The post Beatles 60s HOT100 was a unique time that will likely never be repeated.

As for the Beatles record of the top 5 singles, that was combination of Brian Epstein contracting with more than one record label (Capitol, Swan, Vee-Jay, etc.) in 1963 in an effort to break the band in the USA, and "Beatlemania" which really was mania if the concert footage is anything to go by (teenage girls fainting in droves).

Brian Epstein went to other record labels in 1963 to release Beatles' music because Capitol, who EMI (the home of their UK record label, Parlophone) owned, refused to release the Beatles' first few singles because as they said at the time, "we don't think they will do anything in this (US) market." Capitol continued to snub the Beatles until they heard "I Want To Hold Your Hand," which they finally decided they would release in January 1964 with an initial pressing of only 200,000 copies.

After seeing the growing tide of Beatlemania and the American reaction to "I Want To Hold Your Hand" after an imported UK single started to be played on American radio, they changed their minds and decided to move up the release date of IWTHYH to December 1963 and increase the initial pressing to 1 million copies.

And the rest, as they say, is history.

[surreallife]

It is amazing how so-called "experts" can get it so wrong. The music executives at Capitol Records underestimating The Beatles popularity is one of the most infamous examples, but there are many others. That is why I avoid commercial radio and stick to internet radio. There is so much good music that the big record labels ignore.

[KeepDeanWeird]

Nov 7, 2013 18:49:26 GMT -5 @peigan68 said:

Nov 7, 2013 18:05:29 GMT -5 @2m said:

7th single. Everyone alreday had the album at least once. It would have done better as the lead single or at least in the first couple

True enough. But they still pulled out all the stops for it. I remember seeing the video advertised for weeks before the actual premiere date.

Thriller was a case where it had been on radio for months, but was not available for purchase as single. So the #7 debut was in fact related to suppressed chart performance. The song debuted Feb 1984. The video was released Dec. 2, so that single came out a full two-months later. Clearly the goal was to move "Thriller" album during the holiday season. Also, the single was an abridged version that did NOT include Vincent Price. This single version is not on any of the major compilations.

[lugus15]

Yeah, were are Paul Grein's columns for this week??

[Rocky]

Nov 9, 2013 1:55:43 GMT -5 lugus15 said:

Yeah, were are Paul Grein's columns for this week??

Chart Watch
Source
Eminem has four songs in the top 20 on this week's Hot 100. "The Monster" (featuring Rihanna) debuts at #3 and previous releases "Berzerk," "Survival" and "Rap God" rebound to #15, #16 and #17, respectively. The sales spikes for those three songs are partly due to fans pre-ordering Eminem's album, The Marshall Mathers LP 2. (With the pre-purchase of the album, Eminem's four current chart hits are delivered automatically.) The album is set to enter The Billboard 200 at #1 next week with first-week sales north of 700K.

Billboard's Gary Trust reports that Eminem is the first artist to have four songs in the top 20 simultaneously, as a lead artist, since the Beatles achieved the feat in May 1964 with "Love Me Do," "Do You Want To Know A Secret," "Can't Buy Me Love" and "Twist And Shout." (Impressively, the Fab Four did it without benefit of an iTunes marketing ploy.)
(Since 2005, 50 Cent, T-Pain, Lil Wayne and Ludacris all had four hits in the top 20 simultaneously, but that counts hits on which they had featured billing.)

"The Monster" is the third song from The Marshall Mathers LP 2 to reach the top 10. "Berzerk" debuted and peaked at #3 nine weeks ago. "Rap God" debuted and peaked at #7 two weeks ago. is Eminem's first studio album to contain more than two top 10 hits.
"The Monster" is Eminem's eighth single to enter the Hot 100 inside the top 10. Only Taylor Swift has had more. The country-pop superstar has had 11 singles that entered the Hot 100 inside the top 10.

"The Monster" is Eminem's 17th top 10 hit; Rihanna's 25th. It's their second collabo to reach the top 10. "Love The Way You Lie" spent seven weeks on top in 2010. It went on to receive Grammy nominations for Record and Song of the Year.
Rihanna and Eminem are becoming collabo BFFs, but they have each reached the had multiple top 10 hits with other partners. Rihanna has had two top 10 hits with two other duet partners. She and Jay-Z teamed for "Umbrella" (#1) and "Run This Town" (#2, which also featured Kanye West). She and Drake teamed for "What's My Name?" (#1) and "Take Care" (#7). Eminem has teamed with Dr. Dre for two top 10 hits: "Crack A Bottle" (which also featured 50 Cent) and "I Need A Doctor" (which also featured Skylar Grey).

This marks the first time in eight weeks that a male (lead or featured) artist has appeared on a top three hit. This makes Eminem the Sugar Ray of 2013. Sugar Ray's "Every Morning" busted up a 10-week lock on the top three by female artists when it rose to #3 in April 1999.
In addition, "The Monster" enters Hot R&B/Hip-Hop Songs at #1. It's Eminem's first #1 on that chart; Rihanna's third. Eminem had previously climbed as high as #2 with Drake's "Forever" (on which he was featured, along with Kanye West and Lil Wayne), "Berserk" and "Rap God." Rihanna's previous #1 hits on this chart were "Take A Bow" and "Diamonds."

"The Monster" sold 373K copies in its first week. This is Eminem's biggest one-week sales tally for song since "Not Afraid" sold 379K copies in its first week in May 2010.
Each of Eminem's three earlier hits from The Marshall Mathers LP 2 sold between 120K and 140K copies this week. "Survival" (#6 on Hot Digital Songs) sold 140K. "Rap God" (#8) sold 131K. "Berzerk" (#11) sold 120K.

"The Monster" enters the U.K.'s Official Singles Chart at #1. This surpasses "Love The Way You Lie," which peaked at #2 in the U.K. This is the eighth in the U.K. for both Eminem and Rihanna. This is the seventh consecutive year in which Rihanna has had a U.K. #1, which allows her to tie Elvis and the Beatles for the longest run of consecutive years with a #1 hit. Elvis scored every year from 1957 through 1963. The Beatles scored every year from 1963 through 1969.

Lorde’s "Royals" holds at #1 for the sixth week. "Royals" also tops the 3 million mark in U.S. digital sales this week. It's the 11th song to sell 3 million digital copies in 2013. Lorde's album, Pure Heroine, has sold 314K copies in its first five weeks.
Avicii's "Wake Me Up!" dips from #4 to #5. The song holds at #1 on Dance/Electronic Songs for the ninth week.

One Direction's "Story Of My Life" debuts at #6. It's the boy band's fourth top 10 hit, following “What Makes You Beautiful” (#4), “Live While We’re Young” (#3) and "Best Song Ever" (#2). 1D is the first boy band to amass four top 10 hits since *NSYNC piled up six top 10 hits from 1999 to 2002.
"Story Of My Life" sold 305K copies in its first week. "Live While We're Young" sold 341K. "Best Song Ever" sold 322K. The group's fan base isn't broad, but it is devoted.

"Story Of My Life" is from the group's third album, Midnight Memories, which is due Nov. 25. The song has the poignant and melodic pop appeal of Plain White T's "Hey There Delilah" or, to go back a ways, Mike + the Mechanics' "The Living Years." Both of those songs hit #1. In less PC times, they used to call songs like this "housewife rock."

Marty Robbins had a #15 hit in January 1958 with a song called "The Story Of My Life." It was the first major hit for the incomparable songwriting team of Burt Bacharach and Hal David.

And, yes, this is the first time that One Direction and OneRepublic have been in the top 10 at the same time. I'm rooting for a quick comeback by One Way, a top R&B group of the mid-1980s.
Here's the low-down on this week's top 10 songs.

The Top Five: Lorde’s "Royals" holds at #1 for the sixth week in its 18th week on the chart. This is its 10th week in the top 10. Digital sales rank: #3 (196K)…Miley Cyrus' "Wrecking Ball" rebounds from #3 to #2 in its 11th week on the chart. This is its eighth week in the top 10. Digital sales rank: #10 (123K)…"The Monster" by Eminem featuring Rihanna debuts at #3. It's his 17th top 10 hit; her 25th. Digital sales rank: #1 (373K)…Katy Perry’s "Roar" drops from #2 to #4 in its 13th week on the chart. This is its 12th week in the top 10. Digital sales rank: #4 (141K)… Avicii’s "Wake Me Up!" dips from #4 to #5 in its 19th week on the chart. This is its 11th week in the top 10. Digital sales rank: #5 (140K).

The Second Five: One Direction's "Story Of My Life" debuts at #6. It's their fourth top 10 hit. Digital sales rank: #2 (305K)…"Hold On, We’re Going Home" by Drake featuring Majid Jordan drops from #5 to #7 in its 13th week on the chart. This is its ninth week in the top 10. Digital sales rank: #16 (85K)…Imagine Dragons' "Demons" jumps from #9 to #8 in its 28th week on the chart. This is its second week in the top 10. Digital sales rank: #14 (98K)…OneRepublic's "Counting Stars" dips from #8 to #9 in its 20th week on the chart. This is its second week in the top 10. Digital sales rank: #9 (131K)…Lady Gaga’s "Applause" drops from #7 to #10 in its 12th week on the chart. The song climbed as high as #4. It has been in the top 10 the entire time. Digital sales rank: #18 (77K).

Two songs drop out of the top 10 this week. "Holy Grail" by Jay Z featuring Justin Timberlake drops from #6 to #11, ending a 16-week run in the top 10. Ylvis' "The Fox" dives from #10 to #29, ending a five-week run in the top 10.

Passenger's "Let Her Go" jumps from #17 to #12 in its 14th week. The song tops the 1 million mark in digital sales this week. Digital sales rank: #7 (139K)…"Timber" by Pitbull featuring Ke$ha leaps from #35 to #20 in its fourth week…Katy Perry's "Unconditionally" jumps from #30 to #25 in its second week…Luke Bryan's "That's My Kind Of Night" drops from #18 to #27 in its 12th week. The song logs its 12th week at #1 on Hot Country Songs.

Lady Gaga's "Venus" debuts at #32. It's a promotional single from Gaga's third full-length album, Artpop, which is due Nov. 11…The Neighbourhood's "Sweater Weather" jumps from #42 to #33 in its 21st week…Justin Timberlake's "TKO" jumps from #53 to #37 in its seventh week. The song has now climbed higher than Teddy Pendergrass' "Love T.K.O.," which stalled at #44 in the week ending January 24, 1981 (one week before Timberlake was born!)…Jason Derulo's "Marry Me" jumps from #52 to #40 in its fifth week.

Justin Bieber's "Recovery" debuts at #41. It's Bieber's latest single of the week. Let's see how this is going. "Heartbreaker" debuted at #77 and peaked at #13. "All That Matters" debuted and peaked at #24. "Hold Tight" debuted and peaked at #29. Now this song is debuting (and presumably peaking) at #41. I think one smash like "Boyfriend" is worth more than 10 middling hits. But it was worth a try.

Michael Jackson's "Thriller" re-enters the chart at #42, due to its annual digital and radio resurgence linked to Halloween. The song sold 35K digital copies this past week, bringing its grand total to 3,472,000. (No other Halloween perennials made this week's Hot 100. "Monster Mash" by Bobby "Boris" Pickett & the Crypt-Kickers was the week's #2 Halloween-themed seller, with 28K in sales.)
"White Walls" by Macklemore & Ryan Lewis featuring ScHoolboy Q & Hollis jumps from #56 to #49 in its seventh week…"Stay The Night" by Zedd featuring Hayley Williams jumps from #58 to #51 in its seventh week. This matches its highest ranking to date…Florida Georgia Line's "Stay" jumps from #71 to #62 in its third week…Martin Garrix's "Animals" jumps from #87 to #75 in its seventh week.

Zac Brown Band's "Sweet Annie" jumps from #88 to #80 in its third week. (The title is almost like a mash-up of two John Denver songs from the 1970s: "My Sweet Lady" and "Annie's Song.")
"Rough Water" by Travie McCoy featuring Jason Mraz jumps from #90 to #82 in its second week…Rihanna's "What Now" jumps from #96 to #83 in its second week…Darius Rucker's "Radio" jumps from #98 to #86 in its third week.

"Collard Greens" by ScHoolboy Q featuring Kendrick Lamar re-enters the chart at #92. John Legend's "All Of Me" re-enters the chart at #97. The song has climbed as high as #89…"Right There" by Ariana Grande featuring Big Sean re-enters the chart at #100. The song has climbed as high as #84.

Bruno Mars this week becomes the first male artist to top the 4 million mark in digital sales with four different songs (as a lead artist). He achieves the feat as "When I Was Your Man" tops the 4 million mark, a plateau earlier reached by "Just The Way You Are" (5,991,000), "Grenade" (5,701,000) and "Locked Out Of Heaven" (4,366,000). T.I. has topped the 4 million mark with four songs, but he was the lead artist on only two of them: "Live Your Life" (4,557,000) and "Whatever You Like" (4,401,000). He was the featured artist on Robin Thicke's "Blurred Lines" (6,168,000) and Justin Timberlake's "SexyBack" (4,347,000). "When I Was Your Man" topped the Hot 100 earlier this year.
I have more good news for Mars: "Treasure" tops the 2 million mark in digital sales this week.

Lou Reed's "Walk On The Wild Side" sold 17K digital copies in the first full week following his death. Reed wrote the song, which reached #16 in April 1973. David Bowie produced it. This brings its sales to 534K copies.