shakemaki
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Posts: 761
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Post by shakemaki on Nov 11, 2024 14:29:47 GMT -5
Stop the cap. ABS isn't special. It has remixes and sped up/slowed down versions on top of being 69 cents on itunes, amazon and his labels store since release Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this? I mean, Old Town Road was huge in 2019 and Lil Nas X was an unknown artist when the song first hit. It was a pretty silly statement tbh. There have been countless debut singles that were massive smashes, and the artists were obviously “unknown” at the time, unless they were already in the entertainment industry in a different field. |
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Post by Mayman on Nov 11, 2024 15:07:25 GMT -5
What's most impressive is that I don't think ABS has relied on any tricks or gimmicks whatsoever, whether it be remixes, extra versions, excessive sales, excessive autoplay/playlisting, etc. It's pretty much just the original version, doing extremely well on all three metrics, #1 for multiple weeks in streams, sales, and airplay. And I don't think a regular televised performance such as a Thanksgiving halftime show would be considered a gimmick. We can say that it might not "feel" like a record-breaking #1, or that it won't be remembered in however many years, but it absolutely deserves it. The only thing that might come with an asterisk is that it has a fairly low week-to-week points total given very low competition now, whereas at many other times it wouldn't be going on 17 weeks at #1. Stop the cap. ABS isn't special. It has remixes and sped up/slowed down versions on top of being 69 cents on itunes, amazon and his labels store since release Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this? And nobody is buying those verisons because he doesn't have an audience who are dedicated to getting him to #1. Those versions only do well for an artist with a large online fanbase. Just say you don't know what you're talking about and move instead of coming in aggressive saying stuff that just isn't true. ABS fits so many different formats which is why it's doing so well on radio. People who are new artists get big hits all the time, like what are you even talking about? |
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jenglisbe
Diamond Member
Joined: January 2005
Posts: 35,606
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Post by jenglisbe on Nov 11, 2024 15:16:01 GMT -5
Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this? I don't know about "the last time," but it's certainly happened before. I think of one-hit wonders like Donna Lewis with "I Love You Always Forever" and Natalie Imbruglia with "Torn." Those songs dominated radio and broke records. Britney Spears was of course a new artist when "Baby One More Time" hit big (and we can use many examples of new artists being big right away). Robin Thicke wasn't an unknown when "Blurred Lines" broke airplay records, but he hadn't had any big radio hits to that point (or after). More so, though, what has aided "A Bar Song" is its ability to do well on so many formats. If it didn't have country airplay, for instance, it wouldn't have been #1 in radio for this long. |
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morgan96
Charting
Joined: March 2024
Posts: 187
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Post by morgan96 on Nov 11, 2024 15:29:52 GMT -5
Shaboozey career =thank you beyonce
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Post by After Minutes on Nov 11, 2024 15:46:10 GMT -5
just to add to the discussion about ABS, HMHS is on track to have four songs outstream the biggest hit off TTPD, which blocked it form the #1 spot, while Taylor's highest streaming song currently is Cruel Summer. Meanwhile the biggest hit of the year, Espresso, is still in spotify's top 10 globally, despite peaking at #3 on the charts.
Peaks mean nothing - longevity does. Even if Shaboozey never hots the hot 100 again (I'm sure he'll at least have a few moderate country hits) ABS means much more than all of BTS' #1s combined
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Post by professord87 on Nov 11, 2024 23:25:40 GMT -5
So why isn't Gracie's team playing the radio game?
I know, they're doing a horrible job of timing her radio promo with her streaming peaks this era. Close to You wasn't promoted till months after it peaked on streaming, which was released even before the album and seemed like it would be the lead single. Then they promoted Risk when it wasn't even a streaming hit. I Love You, I'm Sorry was timed decently and sort of made sense, but now, That's So True is her biggest streaming hit by far, being #1 on both Spotify and Apple, and no radio promo yet. It's only been a couple of weeks though, so it would be baffling if they don't eventually promote it.
Stop the cap. ABS isn't special. It has remixes and sped up/slowed down versions on top of being 69 cents on itunes, amazon and his labels store since release
Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this?
Can you document these specific instances? I wasn't aware of any major, ongoing gimmicks like these, and even if there were, they could not have been the primary reason for keeping it at #1 for 16 weeks.
Just check his discog on Spotify and the sales chart on Amazon and itunes. He ain't special. His label is playing the same game as everyone else At least his label isn't pulling tricks like Warner is with Teddy and Benson where their songs magically increase in sales and streams despite being year old songs |
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Post by professord87 on Nov 11, 2024 23:32:48 GMT -5
Shaboozey career =thank you beyonce Cowboy Carter came and went and the songs with him got like 30m streams on Spotify. Ya'll really think Bar Song went viral on tiktok because of her co-sign? |
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Post by Mayman on Nov 11, 2024 23:47:37 GMT -5
I know, they're doing a horrible job of timing her radio promo with her streaming peaks this era. Close to You wasn't promoted till months after it peaked on streaming, which was released even before the album and seemed like it would be the lead single. Then they promoted Risk when it wasn't even a streaming hit. I Love You, I'm Sorry was timed decently and sort of made sense, but now, That's So True is her biggest streaming hit by far, being #1 on both Spotify and Apple, and no radio promo yet. It's only been a couple of weeks though, so it would be baffling if they don't eventually promote it.
Can you document these specific instances? I wasn't aware of any major, ongoing gimmicks like these, and even if there were, they could not have been the primary reason for keeping it at #1 for 16 weeks.
Just check his discog on Spotify and the sales chart on Amazon and itunes. He ain't special. His label is playing the same game as everyone else At least his label isn't pulling tricks like Warner is with Teddy and Benson where their songs magically increase in sales and streams despite being year old songs Like I said before, people have to care about those versions to stream or purchase, which they don't. If they didn't have those versions, it would not make a difference whatsoever. Nice to you for ignoring all of those responses to your inaccurate payola claim, as expected. |
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Post by professord87 on Nov 11, 2024 23:55:30 GMT -5
Stop the cap. ABS isn't special. It has remixes and sped up/slowed down versions on top of being 69 cents on itunes, amazon and his labels store since release Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this? And nobody is buying those verisons because he doesn't have an audience who are dedicated to getting him to #1. Those versions only do well for an artist with a large online fanbase. Just say you don't know what you're talking about and move instead of coming in aggressive saying stuff that just isn't true. ABS fits so many different formats which is why it's doing so well on radio. People who are new artists get big hits all the time, like what are you even talking about? New artists don't get "record weeks at #1" hits all the time, stop lying. It's rare af and they usually make sense Old Town Road had huge cultural impact. It's success made sense A Bar Song feels like a fart in the wind in comparison. It's success is fishy as hell. That's all I'm saying |
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lurker2
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Posts: 690
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Post by lurker2 on Nov 12, 2024 0:48:46 GMT -5
Shaboozey career =thank you beyonce Cowboy Carter came and went and the songs with him got like 30m streams on Spotify. Ya'll really think Bar Song went viral on tiktok because of her co-sign? Absolutely, 100% yes. Prior to Cowboy Carter Shaboozey was relatively unknown, then his next single goes viral on TikTok. Maybe it was just label shenanigans (it's not unheard of, look at abcdefu), but I imagine the virality initially stemmed from people who'd heard about him from Cowboy Carter and checking out the new song, then using it in a TikTok. It isn't that crazy for a medium succesful album from an auteur musician to spawn a featured artist's hit - look at The Life of deleted with Desiigner, for instance |
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Post by Mayman on Nov 12, 2024 0:49:14 GMT -5
And nobody is buying those verisons because he doesn't have an audience who are dedicated to getting him to #1. Those versions only do well for an artist with a large online fanbase. Just say you don't know what you're talking about and move instead of coming in aggressive saying stuff that just isn't true. ABS fits so many different formats which is why it's doing so well on radio. People who are new artists get big hits all the time, like what are you even talking about? New artists don't get "record weeks at #1" hits all the time, stop lying. It's rare af and they usually make sense Old Town Road had huge cultural impact. It's success made sense A Bar Song feels like a fart in the wind in comparison. Its success is fishy as hell. That's all I'm saying Never did I say that, you look like a fool. Please post some concrete evidence you have of its success not being real. Nearly a billion streams on Spotify, successful on many radio formats, organic sales, but it's payola because new Pulse user "professord87" says so. How about instead of calling the songs success fishy and payola driven you actually look into why it's successful instead of looking ridiculous? It appeals to many radio formats, which is helping its longevity on the Hot 100 because it has been so far ahead of everything. That's also why Last Night, a 16 week #1, was successful - it could appeal to Pop, Country, Hot AC, and AC all of which have the highest audience numbers of all the formats. Add in Rhythmic and Urban with ABS and the potential for radio was always going to be massive. It had the benefit of no follow up singles on radio to take away spins and audience until the last week or two, with "Highway" going to country radio on October 28 and "Drink Don't Need No Mix" going to Rhythmic radio on October 22. It's also streaming and selling well still despite having dominated this long. It would be #3 on Streaming Songs without the Tyler album bomb this week. Still #7 on Digital Sales as well and I'm pretty it's the top selling song of the year. It has spent weeks at #1 on all three of the component charts throughout its run. It's successful on all fronts. It has benefited from a relatively slow period on the charts as well, which is the reason it has been able to rack all these weeks at #1. Everything is relative, because this week at #1 would have barely gotten you into the top 10 in the spring of this year. Naturally the song that is consistently doing well on all three components will be spending a long time at #1. You feel as though this song is not noteworthy which can make total sense. I don't really care a ton for the song, so naturally I avoid it. I don't listen to the radio and choose what songs I listen to with Spotify. That's the case for most people. People are simply not streaming or listening to songs they DON'T want to hear. I think people continually feel the need for songs to be heard by all when that's not how people listen to music in the 2020s. Most people stream songs that aren't current in general. So please, quit with this need to fight with people about payola when you are just plain and simply wrong. Loud and wrong even. |
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Normi
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Original Pop Flop Stan
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Post by Normi on Nov 12, 2024 4:10:17 GMT -5
In any case there's no need to call people names and not adjust your words to talk with somebody adequately, it's just a discussion until you make it a(/your) fight, just don't be mean guys ♥️
I have to agree with the sentiment that A Bar Song doesn't feel like a moment the way Old Town Road did, maybe I see it that way looking at it through a European lense but really ABS feels more like radio filler to me than people actually going out screaming the lyrics at the top of their lungs like what I witnessed with OTR, obviously both songs also exist within the other context but yeah the chart has been really stagnant for months now, I remember new songs going viral every week earlier this year and now we're still holding on to those songs which is the main reason Shaboozey has been staying atop for so long
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Post by Rose "Payola" Nylund on Nov 12, 2024 5:43:10 GMT -5
The argument that a new artist can’t possibly have a big hit out of the gate is so hilarious as if it hasn’t been happening for decades. Like, are you people new?
As for “A Bar Song,” it doesn’t need to feel like ‘a moment’ to be a record-breaker, it just needs to have consistently more points than every other song for a longer period of time than other songs do. That’s really it. This need to find deeper meaning to explain why a song is a hit is as exhausting to read about as it must be to write about. You guys must be so tired.
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Gary
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Post by Gary on Nov 12, 2024 7:39:32 GMT -5
Radio slow down, rise of country music, multi-format hit
All reasons why Shaboozey has lasted this long
Right moment for a 17 week run
Would it have gone to #1 this long 5 years ago? Probably not
Would it hit #1` for 17 weeks five years from now? Probably not
None of that matters
Nor does it matter if it "feels like" the biggest hit of all time
What matters is for this moment in time it is the song that is resonating
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Post by Mayman on Nov 12, 2024 9:37:49 GMT -5
In any case there's no need to call people names and not adjust your words to talk with somebody adequately, it's just a discussion until you make it a(/your) fight, just don't be mean guys ♥️ I have to agree with the sentiment that A Bar Song doesn't feel like a moment the way Old Town Road did, maybe I see it that way looking at it through a European lense but really ABS feels more like radio filler to me than people actually going out screaming the lyrics at the top of their lungs like what I witnessed with OTR, obviously both songs also exist within the other context but yeah the chart has been really stagnant for months now, I remember new songs going viral every week earlier this year and now we're still holding on to those songs which is the main reason Shaboozey has been staying atop for so long No intention to be anything until I was called a liar, which is just odd. |
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Eqbk
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Post by Eqbk on Nov 12, 2024 10:42:33 GMT -5
What might also contribute to Bar Song's longevity is the fact that he hasn't had any noticeable follow-up to really take away attention Bar Song. I think he technically has a follow-up single, but it hasn't made any substantial dent (yet) on charts and therefore isn't taking steam out of Bar Song's chart run.
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jenglisbe
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Post by jenglisbe on Nov 12, 2024 11:22:06 GMT -5
As for “A Bar Song,” it doesn’t need to feel like ‘a moment’ to be a record-breaker, it just needs to have consistently more points than every other song for a longer period of time than other songs do. That’s really it. This right here. Gary then mentioned reasons it has been able to consistently have more points than every other song for a long period of time. The real issue here isn't whether there are shenanigans keeping "ABS" at the top or whether it feels like one of the biggest hits of all-time; the real issue is there just haven't been other songs with enough chart points to be #1. None of the songs it has been competing with is getting strong airplay at so many core formats, and then they also haven't timed their big push well. What might also contribute to Bar Song's longevity is the fact that he hasn't had any noticeable follow-up to really take away attention Bar Song. I think he technically has a follow-up single, but it hasn't made any substantial dent (yet) on charts and therefore isn't taking steam out of Bar Song's chart run. This is certainly at least a small factor as well. Some of the other longer running #1s - from "A Bar Song" now to "Last Night" in terms of Top 40 play and then also "Despacito," "Macarena," and "Uptown Funk" - were songs that weren't immediately followed by a big hit from that same artist. Others - like "One Sweet Day" and "Old Town Road" - were followed up by hits, so it isn't always the case, but it seems true for a fair number of them. |
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Post by stormlover74 on Nov 12, 2024 12:25:11 GMT -5
As for “A Bar Song,” it doesn’t need to feel like ‘a moment’ to be a record-breaker, it just needs to have consistently more points than every other song for a longer period of time than other songs do. That’s really it. This right here. Gary then mentioned reasons it has been able to consistently have more points than every other song for a long period of time. The real issue here isn't whether there are shenanigans keeping "ABS" at the top or whether it feels like one of the biggest hits of all-time; the real issue is there just haven't been other songs with enough chart points to be #1. None of the songs it has been competing with is getting strong airplay at so many core formats, and then they also haven't timed their big push well. What might also contribute to Bar Song's longevity is the fact that he hasn't had any noticeable follow-up to really take away attention Bar Song. I think he technically has a follow-up single, but it hasn't made any substantial dent (yet) on charts and therefore isn't taking steam out of Bar Song's chart run. This is certainly at least a small factor as well. Some of the other longer running #1s - from "A Bar Song" now to "Last Night" in terms of Top 40 play and then also "Despacito," "Macarena," and "Uptown Funk" - were songs that weren't immediately followed by a big hit from that same artist. Others - like "One Sweet Day" and "Old Town Road" - were followed up by hits, so it isn't always the case, but it seems true for a fair number of them. They waited a long time to release always be my baby as the followup whereas OSD was released fairly quickly after Fantasy. 19 weeks vs 10 weeks |
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Optical Apex
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Post by Optical Apex on Nov 12, 2024 14:30:54 GMT -5
Lets not forget the unprecedented payola. When was the last time a complete unknown dominated radio like this? I don't know about "the last time," but it's certainly happened before. I think of one-hit wonders like Donna Lewis with "I Love You Always Forever" and Natalie Imbruglia with "Torn." Those songs dominated radio and broke records. Britney Spears was of course a new artist when "Baby One More Time" hit big (and we can use many examples of new artists being big right away). Robin Thicke wasn't an unknown when "Blurred Lines" broke airplay records, but he hadn't had any big radio hits to that point (or after). More so, though, what has aided "A Bar Song" is its ability to do well on so many formats. If it didn't have country airplay, for instance, it wouldn't have been #1 in radio for this long. Robin Thicke had already had a relatively big hit with Lost Without U, which was from 2007 and I think it peaked at #15 in the Spring of that year. |
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jenglisbe
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Post by jenglisbe on Nov 12, 2024 15:10:44 GMT -5
I don't know about "the last time," but it's certainly happened before. I think of one-hit wonders like Donna Lewis with "I Love You Always Forever" and Natalie Imbruglia with "Torn." Those songs dominated radio and broke records. Britney Spears was of course a new artist when "Baby One More Time" hit big (and we can use many examples of new artists being big right away). Robin Thicke wasn't an unknown when "Blurred Lines" broke airplay records, but he hadn't had any big radio hits to that point (or after). More so, though, what has aided "A Bar Song" is its ability to do well on so many formats. If it didn't have country airplay, for instance, it wouldn't have been #1 in radio for this long. Robin Thicke had already had a relatively big hit with Lost Without U, which was from 2007 and I think it peaked at #15 in the Spring of that year. The discussion we were having was centered on radio, and while "Lost Without U" had a decent Hot 100 peak, it wasn't a big hit at Top 40. My point was that "Blurred Lines" is a complete outlier for Robin Thicke at most radio formats; he never had a hit before or after that was anywhere near as big. |
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crazyb
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What's Going On?
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Post by crazyb on Nov 12, 2024 15:17:37 GMT -5
A bar song has 24 weeks @ 1 in Canada
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andrebra
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Post by andrebra on Nov 12, 2024 15:28:01 GMT -5
It’s frustrating to me that with all of the new music that has come out this year, one song has been at number one for 17 weeks when it absolutely has not been the most popular song for that long. Time for another radio recalibration because there’s no reason for songs like Espresso and Birds of a Feather to be stuck at #2 and #3 because of some country songs that for some reason get played on pop radio.
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Post by mikeymonster on Nov 12, 2024 16:00:12 GMT -5
I am also very tired of seeing "A Bar Song (Tipsy)" at #1 still -- HOWEVER, I'm also tired of seeing people complain about radio's weight in the Hot 100 formula. Could radio be a little quicker in making certain songs "hits"? Yes, absolutely. Could radio also let go of songs a bit quicker? Yes, for sure. Nonetheless, there's no denying radio's impact on the chart and how it solidifies a song's longevity and gives it a true lasting impact. Additionally, to be fair, while ABS is still #1 on radio... it's still outperforming a lot of other songs in sales & streaming, too. So it's not just radio's doing. Here's a look at ABS's chart runs on the three metrics. The song is pretty consistent and is still top 5 in all 3 metrics on it's 17th week at #1 (up in all 3 metrics, I might add): Radio Songs (15 weeks @ #1)
37 - 22 - 16 - 12 - 8 - 7 - 4 - 2 - 2 - 2 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - 1 - Digital Song Sales (14 weeks @ #1)
1 - 3 - 1 - 1 - 2 - 2 - 1 - 2 - 1 - 1 - 1 - 1 - 1 - 2 - 2 - 2 - 1 - 1 - 2 - 1 - 1 - 2 - 3 - 2 - 2 - 2 - 1 - 3 - 7 - 3 - Streaming Songs (9 weeks @ #1)
28 - 25 - 3 - 4 - 4 - 4 - 4 - 5 - 4 - 3 - 3 - 1 - 2 - 2 - 1 - 1 - 1 - 1 - 2 - 5 - 3 - 2 - 1 - 1 - 2 - 1 - 1 - 3 - 8 - 5 - It's honestly one of the most balanced #1s in ages.... I mean it nearly reached 10+ weeks at #1 on each of the three metrics. While I would absolutely love to see "Espresso" and "Birds Of A Feather" reach #1.... ABS is #1 for a reason, as it has more points, fair and square, as frustrating as it is. For instance, let's take a look at where "Espresso" and BOAF land on this week's metrics: #3. Birds Of A Feather
Radio: #4 Sales: #15 Streaming: #7 #4. Espresso
Radio: #2 Sales: #24 Streaming: #14 It can be argued that these two songs are "radio-fueled" as well. And just to re-iterate, ABS is still top 5 in all metrics this week. No shade, just facts and some food for thought  |
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jenglisbe
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Post by jenglisbe on Nov 12, 2024 16:07:09 GMT -5
Yeah mikeymonster, I have no idea why people are continuing to blame radio when it has been pointed out several times in several threads that "A Bar Song" is still doing well in streaming, too. To that end: It’s frustrating to me that with all of the new music that has come out this year, one song has been at number one for 17 weeks when it absolutely has not been the most popular song for that long. Time for another radio recalibration because there’s no reason for songs like Espresso and Birds of a Feather to be stuck at #2 and #3 because of some country songs that for some reason get played on pop radio. Even if you took out radio completely, "A Bar Song" would still be ahead of "Birds of a Feather" and "Espresso." "A Bar Song" is currently #5 in streaming (and #3 in sales) while "Birds of a Feather" is #7 in streaming "Espresso" is #14. If anything, radio has helped keep "Espresso" around more so than "A Bar Song." It should also be noted that "Lose Control" is #10 on the latest Streaming Songs chart (and #9 in sales). Radio is helping it, but "Lose Control" would likely be top 10 on the Hot 100 even if you completely cut out radio. |
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Post by mikeymonster on Nov 12, 2024 16:12:26 GMT -5
Yeah mikeymonster , I have no idea why people are continuing to blame radio when it has been pointed out several times in several threads that "A Bar Song" is still doing well in streaming, too. To that end: It’s frustrating to me that with all of the new music that has come out this year, one song has been at number one for 17 weeks when it absolutely has not been the most popular song for that long. Time for another radio recalibration because there’s no reason for songs like Espresso and Birds of a Feather to be stuck at #2 and #3 because of some country songs that for some reason get played on pop radio. Even if you took out radio completely, "A Bar Song" would still be ahead of "Birds of a Feather" and "Espresso." "A Bar Song" is currently #5 in streaming (and #3 in sales) while "Birds of a Feather" is #7 in streaming "Espresso" is #14. If anything, radio has helped keep "Espresso" around more so than "A Bar Song." It should also be noted that "Lose Control" is #10 on the latest Streaming Songs chart (and #9 in sales). Radio is helping it, but "Lose Control" would likely be top 10 on the Hot 100 even if you completely cut out radio. My thoughts exactly! "Lose Control" is another great example! While, I'm sick of seeing it in the top 10 (let alone the top 5 still...) it deserves to be there. It's still #5 on radio, #10 on streaming and #9 in sales. A pretty well-balanced hit, regardless of what people say. |
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Post by Baby Yoda Hot100Fan on Nov 12, 2024 16:15:56 GMT -5
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Gary
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Post by Gary on Nov 12, 2024 16:40:50 GMT -5
Fun fact: The most popular song on the Hot 100 is NEVER going to be the most popular song for everyone.
It is #1 but it is OK to have a different favorite. But that doesn't mean there is anything wrong with the chart formula just because your favorite is not #1
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andrebra
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Post by andrebra on Nov 12, 2024 16:48:34 GMT -5
Yeah mikeymonster, I have no idea why people are continuing to blame radio when it has been pointed out several times in several threads that "A Bar Song" is still doing well in streaming, too. To that end: It’s frustrating to me that with all of the new music that has come out this year, one song has been at number one for 17 weeks when it absolutely has not been the most popular song for that long. Time for another radio recalibration because there’s no reason for songs like Espresso and Birds of a Feather to be stuck at #2 and #3 because of some country songs that for some reason get played on pop radio. Even if you took out radio completely, "A Bar Song" would still be ahead of "Birds of a Feather" and "Espresso." "A Bar Song" is currently #5 in streaming (and #3 in sales) while "Birds of a Feather" is #7 in streaming "Espresso" is #14. If anything, radio has helped keep "Espresso" around more so than "A Bar Song." It should also be noted that "Lose Control" is #10 on the latest Streaming Songs chart (and #9 in sales). Radio is helping it, but "Lose Control" would likely be top 10 on the Hot 100 even if you completely cut out radio. I’m not talking about those songs and where they rank this week, I’m talking about when they were at their streaming peak. If you wanna talk this week, “Die With a Smile” is definitely more popular of a song this week than “A Bar Song.” Not saying it’s not deserving of being in the top 10 but the fact that it’s going to become the longest-running #1 of all time is quite laughable. |
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rimetm
2x Platinum Member
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Post by rimetm on Nov 12, 2024 17:01:55 GMT -5
If you wanna talk this week, “Die With a Smile” is definitely more popular of a song this week than “A Bar Song.” Without radio, the points for songs would shake out like this: 15,110 - Sticky 15,050 - Die with a Smile 14,360 - That's So True 14,200 - St. Chroma 13,790 - A Bar Song 13,560 - Love Somebody 12,930 - Birds of a Feather 12,380 - Apt. ...so if you're rooting specifically for a situation where Die with a Smile beats A Bar Song, know that both were beaten this week by Tyler's Sticky, and likewise last week with Tyler's St. Chroma. |
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SPRΞΞ
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Post by SPRΞΞ on Nov 12, 2024 17:07:13 GMT -5
"one hit wonder" always has such a negative connotation. I'd be ecstatic if I was a one-hit-wonder with a song that has spent 17 weeks at #1. I could potentially live off that song forever and quit my job!
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