Three more former #1 singles are next: Silk Sonic’s “Leave The Door Open” at #2, Justin Bieber/Giveon/Daniel Caesar’s “Peaches” at #3, and Polo G’s “Rapstar” at #4. (Look out for those to start appearing in our Number Ones column very soon.) Only Janet Jackson’s Rhythm Nation 1814 has done it before, spinning off four #1 hits from 1989-1991. After Hours pulled off something even rarer than that: three #1 hits in three separate years, with “Heartless” in 2019, “Blinding Lights” in 2020, and now “Save Your Tears” in 2021. Six albums achieved that feat in the 2010s: Katy Perry’s Teenage Dream (which actually yielded a record-tying five #1s), Rihanna’s Loud, Adele’s 21, Taylor Swift’s 1989, Justin Bieber’s Purpose, and Drake’s aforementioned Scorpion. According to Billboard, “Save Your Tears” is also the 24th #1 for Max Martin as a writer and 22nd as a producer, totals that put him behind only the Beatles braintrust: John Lennon (32) and Paul McCartney (26) have written more chart-toppers, and George Martin (23) has produced more.Īfter Hours is the first album of the 2020s to yield three #1 hits and the first since Drake’s Scorpion in 2018. Grande is also credited with a #1 hit because the new remix drew the majority of the song’s tracking activity last week it becomes her sixth #1 hit as well. “Save Your Tears” is the Weeknd’s sixth #1 hit and third from After Hours.
“Sorry Not Sorry”įeatured artists: Nas, Jay-Z, James Fauntleroy, “Harmonies By The Hive”Īfter lingering near the top of Billboard‘s Hot 100 singles chart for months, the Weeknd’s “Save Your Tears” has finally reached #1 thanks to a boost from the new remix featuring Ariana Grande.
To save you the trouble of listening through the whole thing, here’s a breakdown of the album’s songs, from THEY (LEGITIMATELY) DON’T WANT YOU TO LISTEN TO THE NEW DJ KHALED SINGLE to ACTUALLY, THIS ONE IS QUITE GOOD. Some of the songs will probably pop off because when you throw this many famous names together, how can some of them not? But it’s a largely vacuous exercise that feels much longer than its 54-minute runtime. Given that Khaled has recruited one of the most eye-popping guest lists of his career, the new Khaled Khaled can’t help but feel like an event. A DJ Khaled album is less a creative statement than a launchpad for prospective hits.
#Song rating movie
His full-length releases are always stuffed with superstars, but they play like movie soundtracks - not stylishly curated movie soundtracks, but movie soundtracks that sound like somebody was given a lot of money to throw around without the ideas to justify it. It goes without saying that Khaled is not an album artist. Khaled is a blockbuster franchise unto himself: one that keeps roping in more and more impressive names, and one that can’t really descend into self-parody because this man has always been a living caricature. In recent years the formula has led to a bloated pantomime of triumphant lavish living - songs that sound the way overpriced liquor bottles in the VIP section probably taste (which I hear is underwhelming, though I can’t speak from experience). This sometimes results in pump-you-up classics like “We Takin’ Over” and “I’m On One” and “All I Do Is Win,” modern-day jock jams guaranteed to send your average millennial’s adrenaline surging. For the better part of two decades, the man born Khaled Khaled has been rounding up as many famous rappers, singers, and producers as he can, piling them onto XXXL pop-rap songs laser-targeted at radio, and shouting various catchphrases on top of them at maximum volume. DJ Khaled’s brand is excess, opulence, and over-the-top enthusiasm.
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