WHAT makes a particular melody "good", "bad", "likeable" or enjoyable? Of course, the answer to this question is culturally and stylistically dependent, and culture and style change over time. Recently, the YouTube channel Inside the Score published a video entitled "The Death of Melody," where the author argues that popular songs from the last several years have melodies that are inferior compared to pop melodies from the height of the 'rock and roll' era. Specifically, he points out the prevalence of one-note melodies and narrow melodic ranges as recurrent features in modern popular hit songs. These observations are not limited to our YouTube author but appear in many sources of pop music criticism (e.g., Holden, 1994; Young, 2016; McAlpine, 2018), and carry the implicit assumption that a "dead" melody is less than desirable. In noting these trends, it raises the inherent questions not only of what constitutes a "good" melody, but potentially what makes a melody in the first place? That is, in evoking the metaphor that melodies have died, the author implies that melodies inherently have (or should have) properties that we associate with life, liveliness, or activity. In this paper we theorize that there are specific musical features that lend a melody these qualities, which we henceforth will refer to as melodiousness, and carry out a large-scale corpus analysis to examine whether there are differences in the melodiousness of pop music melodies from the 1960s compared with present-day pop songs. In addition, we attempt to answer the question of whether any key characteristics associated with melodiousness appear to have changed or shifted in notable ways over time.
BACKGROUND
The term melody is frequently used to mean different things. On the one hand it can be used to describe a component of a song as distinct from other elements (such as harmony, timbre, etc.), whereas at other times it might be referred to as "the part that you hum along to" or even refer specifically to a sung vocal line (in particular for popular music) as opposed to an instrumental line or quasi-spoken (i.e., rapped) line as one might find in hip-hop. Importantly, the above definitions are not mutually exclusive. In computational musicology it is necessary to operationally define the variables of interest, however, oftentimes this is not a straightforward process since a variable such as melody is inherently subjective. Defining melody is less problematic when the source of the material comes from a non-polyphonic source (i.e., the melody does not need to be extracted from a complete score or song). While there have been several computational studies of melody, they most commonly rely on monophonic sources such as folk songs or extracted solo parts from a score with accompaniment (e.g., Müllensiefen et al., 2009; VanHandel & Song, 2010; Shanahan & Huron, 2011; Temperley & Temperley, 2011). Although there have been few computational studies that have needed to isolate melody from its original full score or song context, a common approach appears to be one of simplifying the definition such that the melodic line has either been predefined (e.g., encoded themes from the Barlow and Morgenstern Dictionary of Musical Themes, 1948) (e.g., Warrenburg & Huron, 2019), is equated with the top-most voice or part (e.g., Arthur, 2017; Hu & Arthur, 2021), or limited to the sung vocal part (e.g., Serrá et al., 2012; Tan & Temperley, 2019). As will be discussed below, our methodology requires that we take a similar approach to isolate the melody from the rest of the song. Although our methods allow us less control over what is selected as the melody compared with the above-mentioned approaches, we have similarly simplified the definition of melody in a comparable manner to these computational studies.
Several studies have taken a computational approach to the investigation of the change of musical features over time (e.g., Parncutt et al., 2011; Broze & Shanahan, 2013), or to the musicological examination of melodic features more broadly (e.g., Arthur, 2017; Baker & Shanahan, 2017; Hansen & Huron, 2018; Warrenburg & Huron, 2019). However, historically, the field of computational musicology has been somewhat limited both in terms of the scope and style of the music analyzed—the above papers notwithstanding—in part due to the availability of symbolic musical data. Regarding the study of popular music, the genre has been receiving increasing attention in the empirical musicology and MIR (Music Information Retrieval) communities as more and more data become easily accessible and more widely shared. For instance, there have been numerous recent studies on trends in popular music (e.g., Serrà et al., 2012, Gauvin, 2015, Mauch et al., 2015; Miles et al., 2017; Duinker & Martin, 2017; White & Quinn, 2018; Tan et al., 2019; Sears & Forrest, 2021). However, these have tended to focus on harmony, likely as a function of convenience sampling. For instance, at the time of writing, only two corpora—the McGill Billboard corpus (Burgoyne et al., 2011) and the Rolling Stone 100 corpus (de Clercq & Temperley, 2011)—constitute the bulk of publicly-available, clean, symbolic corpora for popular music, both of which were originally published in 2011, and primarily contain harmonic annotations, 1 but contain a paucity of material from the 21st century. One solution to the convenience-sampling problem would be to use so-called "messy" data: an approach taken by Mauch et al. (2015) who used quantitative audio features extracted from 17,000 recordings of popular music to create vocabularies of tonal and timbral descriptors (with minimal human intervention). They then examined the probability distributions of these lexicons over time to examine large-scale changes in the evolution of popular music.
In this paper, we take a similar "messy" approach to overcome the lack-of-data problem, but use a novel method for generating symbolic data, in this case aimed at analyzing popular music melodies. Using the methodology described below, we assembled a corpus of over 1500 popular melodies with which to test a series of hypotheses about trends in melodiousness over time in popular music.
METHOD
Materials: Popular Music Corpus
In this paper we aim to address the question of whether modern popular songs have become less melodious compared to earlier pop songs. To investigate this research question, we needed to acquire a representative sample of popular music from both early and late periods. We decided on the 1960s as the starting point for our popular period since the late 50s are commonly referenced as initiating the birth of 'rock and roll.' Likewise, we wanted the later popular music period to be as recent as possible, in part because there are so few empirical studies that include music from this period. Accordingly, we selected the last complete decade (2010-2019) as our "late" popular period. We also assembled our corpus to contain music from the intervening decades to permit post-hoc analysis of trends over time.
While there are several harmonic corpora that include the earlier period, there is a scarcity of existing corpus material for any form of modern popular music in symbolic format. There appear to be only two corpora that have expert transcriptions of popular melodies. One (CoCoPops 2) aligns with the McGill Billboard corpus of harmonic transcriptions (Burgoyne et al., 2011), with song publication dates ranging from mid 1950s only through 1991, however at present only around 200 songs have been transcribed (Arthur & Condit-Schultz, 2021). The other, the RS200 3 corpus by Temperley & de Clercq (2011) also has only 200 songs with only a single song from the twenty-first century.
To obtain a larger sample that included modern popular melodies, we built our own corpus (described further in the Sampling section below). Given the labor involved in manual transcription, and given the large sample of data we desired, we chose to make use of automated melody transcription methods using a popular MIR (Music Information Retrieval) algorithm. While these methods are, of course, less robust than human transcription, the large volume of data collection and the assumed random distribution of error makes this methodology suitable for our purposes. In addition, there is a precedent for using "messy" data to perform this type of large-scale analysis (Mauch et al., 2015; Albrecht, 2019; Harrison & Shanahan, 2017). The algorithm we used for the automated melody transcription is Melodia (Salamon, 2014).
The Melodia algorithm has four basic steps. First, it computes a time-windowed spectrogram analysis to determine the likely frequencies active within a given time slice across the entire (fully mixed and rendered) track. Next, the algorithm applies a filtering process that "boosts" frequencies only in the range where melodies are typically found (~261.6Hz to 5KHz) and attenuates bass frequencies, and then computes a chromagram-like operation. Specifically, frequencies are "folded" into octave-separated bins in order to estimate the most active pitch classes within a given time frame, but the size of each frequency bin is only 10 cents (as opposed to a full semitone or 100 cents) in order to increase the frequency-domain resolution (see Salamon & Gómez, 2009, 2012; and Gomez, 2006) resulting in a quantized pitch range covering ~55-2,000 Hz over 600 10-cent-wide bins. The third step in the process is to calculate "pitch contours", which are groups of "pitches" (local frequency maxima) at very small-time scales (~50ms) that are closely connected in frequency and time. These pitch contours typically have an overall length from one or two notes up to a short phrase. The final step is to determine which of the pitch contours is the most likely to be "the melody". This is done by applying filtering rules that were developed by observing the characteristics of pitch contours that are part of a melody (e.g., presence of vibrato and average pitch height) and contours that are accompaniment (e.g., overtones that shift and move together). Melodia outputs the melody contours as sequences of frequencies so that the accuracy of the algorithm can be evaluated using evaluation methods standard within the ISMIR community. However, Melodia also includes a separate component that discretizes the pitch contour frequencies into MIDI note numbers. We used this component to create the symbolic melodies in this corpus. (For a more in-depth explanation, see Salamon's website: https://www.justinsalamon.com/melody-extraction.html). A comparison of 206 human-transcribed melodies with the Melodia transcriptions of the same melodies can be found in Appendix A for readers who wish to investigate the automated melody transcriptions in more depth.
Sampling
Our sampling method for this project was similar to that of Burgoyne et al. (2011), who employed a stratified random sample from the Billboard Hot 100 over each of the 3 decades (roughly) between 1958 and 1991, evenly distributed according to rank positions on the charts. We adopted verbatim the same set of song titles from Burgoyne from 1960 through 1991, using the automated MIR process to obtain the melodies, but extended the corpus through the period 1992-2019 using a similar sampling methodology. Specifically, we divided the period 1992 through 2019 into 3 "eras" (1992 – 1999, 2000 – 2009 and 2010 through 2019). Next, we divided the weekly list of Billboard Top 100 hits into five percentiles (0 – 20, 21 – 40, 41 – 60, 61 – 80 and 81 – 100) based on each song's rank. Then we randomly sampled 300 songs from the pool of songs for each era. Similar to the process in Burgoyne, this sampling procedure produced some duplicates, due to the fact that hit songs often occupy the Billboard Hot 100 charts for more than a single week. We removed the duplicates so that each song is only included in the corpus once. This procedure yielded a total of 833 songs, which when added to the 738 unique songs from the Billboard gave us a total of 1571 songs (see the full list of complete songs in the corpus in Appendix C). We adopted this approach because it provided an optimal method of obtaining an unbiased sample of popular music to test our hypothesis, while also enabling a comparison between automatic and expert-encoded transcriptions (see Appendix A). Of note is that Burgoyne et al. stopped collecting songs at the year 1991 due to significant changes made by Billboard to their methodology for selecting songs for the Hot 100. In fact, Billboard continues to make changes to its selection methodology on a regular basis, as methods for delivering and consuming popular music continue to evolve and change. There is a possibility, therefore, that using the Billboard Hot 100 for the full range of decades studied here introduces some bias into our sample. However, for decades the Billboard charts have represented a standard of success in popular music, and we assume that the changes Billboard has made are necessary to continue to represent that standard. We include a description of the changes Billboard has made to their chart selection methods in Appendix B so readers can ascertain whether the two subsamples are both representative of "popular music." We compared the songs in the original Billboard eras (1958-1991) against the songs in the extended corpus (1992-2019) in terms of both distributions on chart positions, and the ratio of artist to number of hits, and found them to be approximately the same.
Procedure
Recall that our primary research question asks whether modern melodies are less "melodious" compared with earlier popular songs. That is, we wish to examine whether there are measurable differences in melodic features associated with "liveliness" and "activity" when comparing popular melodies from these two time periods (1960s and 2010s).
Importantly, we propose that it is prototypical for melodies to be "active" and "varied." By way of example, if we were to randomly stop a stranger in the street and ask them to make up a melody to sing or whistle, it is unlikely they would perform a repeated single note to a metronomic pulse. In fact, the very claim that melody is "dead" must imply that it is contrary to the (prior or established) norm for modern melodies to behave as they do. Accordingly, we can think of a "dead" melody as breaking from this prototypical association. We propose, then, that "dead" melodies are exemplified by a lack of rhythmic and pitch variety and can be characterized as relatively flat and inactive. If "activity" readily suggests motion and energy, then we would propose that "dead" melodies would be exemplified by features linked with stasis, idleness, and lethargy.
Based on our rationalizations above, we propose that melodiousness in a melody could be measured using six dimensions that we propose are strongly linked to activity and variety: melodic range, amount of repetition (defined below), intervallic diversity, rhythmic continuity, rhythmic diversity, and contour.
Note that we presume that there are features inherent in melodies that allow them to be heard as melodies. That is, at least from a perceptual standpoint, stringing notes together in time is not sufficient to create a single, coherent melody (e.g., Bregman, 1990). In the Western tradition (as with many other musics) the concept of melody is strongly tied to the production abilities of the human voice (e.g., Wermke & Mende, 2009). That is to say, we presume that there could be many features that might contribute to a melody appearing "un-melody like," which would not necessarily make them "unmelodious" according to our definition. However, we presume that those (un-melody like) features would not likely be present in our sample at all, since they are unlikely to make 'hit' songs in the first place. Specifically, we hypothesize that, in comparison with earlier melodies, modern melodies:
- Will have a smaller (rolling) melodic range
- Will have a greater overall proportion of repetition
- Will have a greater proportion of small melodic intervals
- Will show a less diverse distribution of rhythms
- Will have a greater proportion of longer notes and/or more rests or breaks
To examine each of the hypotheses above, we present in the next paragraphs our operational definitions of the variables appearing in our hypotheses above and elaborate on the rationale, methods, and metrics used to measure those variables. Each song in our corpus therefore has a single value for each of the variables defined below.
Rolling Melodic Range:
Melodic range is defined as the number of semitones between the lowest and highest note in a melodic segment. Since the total range for a song's melody can be large even if large segments of the song have small ranges, we instead compute a rolling average using a two-measure window (a common sub-phrase or phrase unit) with a hop size of one measure, and then take the average of all the windows. Thus, the rolling melodic range is the average range in semitones within a two-measure unit over the entire song.
Repetition:
The more material that is 'recycled' in a piece of music, the less variety it contains. We measure repetition in terms of its compressibility, with more compressible melodies representing a higher degree of repetition. Note that this method cannot distinguish between short- or long-term repetitions, but just the overall amount of repetition 4. Specifically, repetition was calculated using the following procedure: Each note was converted into a string representing pitch class and octave in A.S.A. format (e.g., A4), plus duration quantized to the number of sixteenth notes (see rhythmic diversity, below). The entire melody for a song was then represented as a string with all the notes concatenated. Repetition was then computed using the GZIP algorithm as implemented in the python zlib package as the size of the compressed file divided by the size of the uncompressed file. Note that this methodology is incapable of distinguishing between short-term and long-term repetition. (E.g., AABB is equally repetitive to ABAB).
Small Melodic Intervals:
We examine the distribution of undirected melodic intervals in semitones. We propose that 'flat' melodies would not only have smaller (rolling) ranges but would have a greater overall proportion of small melodic intervals. We operationally define 'small' to be equal to or smaller than a minor third (three semitones) given that a substantial number of pop songs will have pentatonic melodies where a minor third would be considered a step. We measure the proportion of each song's melodic intervals that are less than or equal to this threshold.
Rhythmic Diversity:
In addition to pitch movement, the rhythm of a song's melody can also be highly variable or highly static. We propose that 'active' melodies would have a greater degree of rhythmic variety whereas 'dead' melodies would exhibit the opposite trend. Given that it has been argued that nPVI is not an accurate measure of rhythmic variety (Condit-Schultz, 2019), we instead relied on a simple count of the distinct number of unique rhythmic values (i.e., quantized note-duration values) encountered in the melodies. Note that technically, due to our methodology, we measure note durations in seconds and therefore must estimate rhythmic values (i.e., eighth, quarter, etc.) by considering the tempo and quantizing to the nearest 16th note. For example, a duration of .25 seconds at a tempo of 120 bpm in 4/4 time would be quantized to an eighth note (120 bpm / 60 seconds / 8 notes per bar rounded to the nearest .125). Accordingly, we "bin" all note durations in increments of increasing 16th notes (i.e., 16th, 8th, dotted 8th, quarter, etc.)
Proportion of Long Durations:
In addition to the overall rhythmic diversity, we propose that 'active' melodies would typically be faster, or, at least, more rhythmically dense, and thus contain fewer 'gaps', shorter phrase boundaries, and fewer long notes. Pearce et al. (2010) demonstrated that large IOIs were an important predictor for melodic segmentation. As such, we measured the proportion of IOIs (again, quantized to the nearest 16th note) in a song that are equal to or greater than half of a measure (e.g., half notes or greater in 4/4 time).
It may seem that an obvious omission was that of contour, which we described as a feature relating to melodiousness. That is, melodies with 'flat' contours would be less active than those with ascending, descending, arc-shaped, or other contours that may lend to the perception of increasing and decreasing tension. However, we were not able to convincingly define a novel contour metric that would be uncorrelated with the rolling range variable.
Each of the above features was calculated for each song in our corpus. To test our main hypothesis regarding whether the earlier group of songs differed in melodiousness from the latter group of pop songs, we apply a logistic regression, using the calculated feature values as described above to predict the time-period group (1960s or 2010s). In addition, we planned a post-hoc analysis using a multiple linear regression model for the full time-period (i.e., every year from 1960 to 2019) to examine the best fit for each of the melodiousness variables defined above.
RESULTS
To assess our main hypothesis, we carried out a multiple logistic regression analysis using the five predictor variables described in our methods section (melodic range, repetition, small melodic intervals, rhythmic diversity, and proportion of long durations) to predict the time era of the song (1960s or 2010s.) The results of the analysis are summarized in Table 1 below.
| Variables | Df | Deviance | Resid. Df | Resid. Dev | Pr(>Chi) |
|---|---|---|---|---|---|
| Null | 491 | 669.64 | |||
| Range | 1 | 79.76 | 490 | 589.88 | <.001*** |
| Rhythmic Diversity | 1 | 0.53 | 489 | 589.35 | .47 |
| Proportion of Long Durations | 1 | 0.24 | 488 | 589.12 | .63 |
| Step Motion | 1 | 3.14 | 487 | 585.98 | .08 |
| Repetition | 1 | 202.89 | 486 | 383.09 | <.001*** |
| Range:Rhythmic Diversity | 1 | 2.08 | 485 | 381.01 | .15 |
| Range:Proportion of Long Durations | 1 | 0.15 | 484 | 380.86 | .70 |
| Rhythmic Diversity:Proportion of Long Durations | 1 | 1.32 | 483 | 379.54 | .25 |
| Range:Disjunctness | 1 | 1.42 | 482 | 378.12 | .23 |
| Rhythmic Diversity:Step Motion | 1 | 11.95 | 481 | 366.17 | .00*** |
| Long Durations:Step Motion | 1 | 3.33 | 480 | 362.84 | .07 |
| Range:Repetition | 1 | 5.40 | 479 | 357.45 | .02* |
| Rhythmic Diversity: Repetition | 1 | 13.34 | 478 | 344.11 | .00*** |
| Long Durations: Repetition | 1 | 5.00 | 477 | 339.10 | .03* |
| Disjunctness:Repetition | 1 | 0.39 | 476 | 338.71 | .53 |
| Range:Rhythmic Diversity:Long Durations | 1 | 0.28 | 475 | 338.44 | .60 |
| Range:RhythmicDiversity:Step Motion | 1 | 0.31 | 474 | 338.13 | .58 |
| Range:Long Durations:Step Motion | 1 | 1.35 | 473 | 336.78 | .25 |
| Rhythmic Diversity:Long Durations:Motion | 1 | 2.44 | 472 | 334.34 | .12 |
| Range:Rhythmic Diversity:Repetition | 1 | 0.74 | 471 | 333.60 | .39 |
| Range:Long Durations:Repetition | 1 | 2.42 | 470 | 331.18 | .12 |
| Rhythmic Diversity:Long Durations:Repetition | 1 | 2.88 | 469 | 328.30 | .09 |
| Range:Step Motion:Repetition | 1 | 2.22 | 468 | 326.08 | 0.14 |
| Rhythmic Diversity:Step Motion:Repetition | 1 | 1.53 | 467 | 324.55 | 0.22 |
| Long Durations:Step Motion:Repetition | 1 | 0.59 | 466 | 323.96 | 0.44 |
| Range:Rhythmic Diversity:Long Durations:Step Motion | 1 | 0.64 | 465 | 323.32 | 0.42 |
| Range:Rhythmic Diversity:Long Durations:Repetition | 1 | 0.69 | 464 | 322.64 | 0.41 |
| Range:Rhythmic Diversity:Step Motion:Repetition | 1 | 2.87 | 463 | 319.77 | 0.09 |
| Range:Long Durations:Step Motion:Repetition | 1 | 2.03 | 462 | 317.74 | 0.15 |
| Rhythmic Diversity:Long Durations:Step Motion:Repetition | 1 | 0.00 | 461 | 317.74 | 1.00 |
| Range:Rhythmic Diversity:Long Durations:Step Motion:Repetition | 1 | 0.02 | 460 | 317.73 | 0.89 |
Note: Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
Of the five main variables that we assumed would be related to "melodiousness", only two showed significant differences between the songs from the 1960s and the modern-day songs: melodic range, and repetition (both p < .05; see Figure 1). Interestingly, however, the rolling range variable was in the reverse direction of what we predicted, showing that modern pop songs actually have a larger range compared with earlier pop songs. Four interactions were also significant: rhythmic diversity and small melodic intervals, range and repetition, rhythmic diversity and repetition, and proportion of long durations and repetition (see Figure 2). However, we made no a priori hypotheses about these interactions; moreover, the musical significance of these interactions is not clearly evident.
Of note are the very small differences in repetition between the two era groups. That is, while modern pop songs do seem to make use of a greater degree of repetition, as illustrated in Figure 1, it seems the degree of increased repetitiveness is very small. It is worth reminding the reader that our methodology is incapable of distinguishing between short-term and long-term repetition. (e.g., AABB is equally repetitive to ABAB).
Figure 1 – Significant Main Variables – Two of the five main "melodiousness" variables successfully predicted era (1960s vs. 2010s): repetition (as measured by data compression), and rolling range. However, range (right) was significantly greater for the 2010s era, which does not support H1. (see pp.122-123 for explanations of how rolling range and repetition were calculated).
Figure 2 – Significant Interactions – The four significant interactions predicting era (1960s vs. 2010s): Rhythmic diversity and small melodic intervals (upper left), range and repetition (upper right), rhythmic diversity and repetition (lower left), and repetition and long durations (lower right).
Overall, given that only one of our five hypotheses had supporting empirical evidence, we argue that our data does not support the conclusion that "melody is dead," or that modern melodies are less melodious than earlier ones.
EXPLORATORY RESULTS
Having collected data for each of the decades from 1960 – 2019, we also performed a post-hoc analysis of the trends in our melodiousness variables to examine whether these changes were gradual, sudden, or may have changed direction in the intervening years. We performed a linear regression for each variable and plotted the data to see whether any trends could be observed. Figure 3 plots all values for each of the five melodiousness variables along with the line of best fit for the full range of years from 1960 through 2019, inclusive.
Figure 3 – Linear Post-Hoc Analysis – we found significant effects for repetition (top left), range (top right), rhythmic diversity (middle left) and proportion of long durations (middle right) when examining the full corpus of data by decade. The variables repetition and rhythmic diversity trended in our predicted direction consistent with hypotheses 2 and 4. However, the variables range and proportion of long durations trended in the reverse direction inconsistent with hypotheses 1 and 5. The fifth variable (proportion of small melodic intervals) was not significant.
Of course, there is no reason to presume that any musical trend would be linear, and one can always attempt to fit a straight line. Nevertheless, we found significant effects for repetition and range (as before), but also for proportion of long durations and rhythmic diversity. It is likely that the additional data in the linear models explains the difference from the insignificant logistic result to the significant linear model result in the case of these latter two variables. Two of our melodiousness variables—repetition and rhythmic diversity—were significantly different in our predicted direction (i.e., as years increase, repetition increases and rhythmic diversity decreases), consistent with hypotheses 2 and 4. However, the other two melodiousness variables—range and proportion of long durations—were significant, but in the reverse direction (i.e., as years increase, range widens and the proportion of long durations decreases), inconsistent with hypotheses 1 and 5. In all cases, the size of the overall change is small, and the fifth variable (proportion of small melodic intervals) was not significant. Since this was a post-hoc exploratory analysis, we did not correct for multiple tests. Overall, we argue that the data does not support the claim that "melody is dead."
DISCUSSION
Every popular music producer wants to be able to predict the next great hit. In the field of music informatics, the quest to uncover the anatomy of what makes a hit song is known as hit song science. One of the most studied aspects of the song is the melody, with a widely held belief that a key to a great song is to write a great melody (Frederick, 2019). The implicit assumption is that a great "hook" is one that is catchy and memorable (Burgoyne, 2013), and perceptual research has shown that familiar melodies are more aesthetically pleasing than unfamiliar ones (Janssen et. al, 2017). It has also been suggested that there is an optimal 'sweet spot' in terms of a song's repetition; too much repetition and the song is perceived as 'boring' or possibly even 'annoying' while an over-abundance of novel material can cause the song to be perceived as overly complex, with the general idea being that increasing repetition leads to a facilitation in the mental processing of the music (Huron, 2006). This is consistent with Cheung et al.'s (2019) finding which showed that information content and entropy significantly predicted liking for chord sequences. A seemingly contradictory observation is that, according to our results, songs appear to be getting increasingly repetitive, but that the repetition is presumably correlated with liking, given that the songs are all 'hits.' (i.e., we assume that radio/streaming/publishing industries are not the only drivers in creating hits but that the general public has to enjoy them.) In fact, a recent paper by Albrecht (2019) showed a difference in repetition even between songs that are all hits (controlling for year), demonstrating that the songs at the top of the Billboard charts contained more repetition than the songs at the bottom of the charts. While the current paper was not a study of memorability or 'catchiness,' our results do suggest that there is a slight trend towards increasing repetition, which is (by our definition) unmelodious, but which apparently is desirable in a modern popular song—at least according to Billboard's definition of what makes a 'top 100' hit song. However, we did not find any empirical evidence to support the claim that 'one note melodies' are prevalent in a representative sample of modern pop songs, as there was no difference in the prevalence of small melodic intervals across groups.
Several caveats are warranted given the methodology for our corpus analysis. First, it is possible that using automated transcription algorithms does not provide sufficiently accurate melody transcriptions to gather a coherent picture of real trends or changes in music over time. However, as mentioned, there is a precedent for using "messy data." That is, we presume that the errors in the melodies are randomly distributed over the time period of our full corpus, and as such, when investigating such a large quantity of data to examine very broad trends, we feel that the data, while certainly error-prone, is giving reliable results. We would not recommend using automated transcriptions for "close readings" or more traditional music-theoretic inquiries. Second, it could well be the case that our systematic approaches to capture our variables of interest were not the most appropriate. And lastly, it may be that other melodic features would provide better insights. In other words, it is possible that our operational definitions of "melodiousness" in general were poorly conceived or, more likely, simply incomplete. However, we hope that this analysis serves as a proof of concept for the kinds of queries that are possible using this type of data.
Additionally, we mentioned that while using compression as a proxy for melodic repetition is useful in evaluating a broad generalization such as the one considered here, it provides little insight into what kinds of melodic repetition (e.g., melodic sequences, transpositions, inversions, retrogrades, extensions, elisions etc.) are used over the years or across various styles. Finally, a larger but more complex analysis that considers melody in the context of harmony, form, or genre may reveal more meaningful insights. Further research is needed to determine the impact these melodic elements have on popular music styles.
ACKNOWLEDGEMENTS
This article was copyedited by Matthew Moore and layout edited by Diana Kayser.
NOTES
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The RS was later expanded to 200 songs (RS200) and includes melodic transcription data. Tan et al. (2019) examine syncopation in popular melodies.
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See: https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops-Billboard
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See: http://rockcorpus.midside.com/
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Songs are scored in terms of the total proportion of the song that can be compressed according to the gzip algorithm as implemented in the python zlib package. For example, an A4 dotted eighth note would be represented as A43. The entire melody for a song was represented as a string with all the notes concatenated. Repetition was then computed using the GZIP algorithm as implemented in the python zlib package as the size of the compressed file divided by the size of the uncompressed file.
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APPENDIX A
Evaluation of Automated Melody Transcription
COMPARISON OF "EXPERT" AND "AUTOMATED" MELODIES
As our motivation for using this algorithm was to overcome the need to collect several hundred transcriptions for songs where no score was available, we were unable to compare all the automated transcriptions with human transcriptions. However, we were able to compare 206 melody transcriptions with human transcriptions using the CoCoPops corpus, which contains expert-transcribed melodies to a subset of the songs in the original McGill Billboard harmonic corpus (Burgoyne 2011).
The Melodia algorithm produces an onset time, duration, and pitch for each note in the estimated melody, which is different from the relative timing (i.e., measures and beats) in the human transcriptions. In order to enable comparisons between the Melodia output and the ground-truth, we used an estimate of the tempo of the audio using the Madmom beat tracker (Bock et al., 2016) to translate the relative offsets and durations in the human transcription into absolute offsets (i.e., seconds) and onset time (using Music21).
Once we had the ground-truth and Melodia estimates in a common time format, we applied the following procedure to enable the comparison: First, each note in the transcriptions and the estimates was broken into slices equivalent to a 16th-note duration. Next, we aligned these slices between the ground-truth and Melodia estimates to compare pair-wise accuracy. Here we used two methods of calculating the accuracy (similar to that of the melody extraction task for MIREX): one compares the predicted note's pitch with the ground truth (with a tolerance of 1 quartertone in either direction; referred to as raw pitch accuracy), while another one only considers the onset timing of the note (referred to as voicing accuracy). Based on these definitions, we measured the raw pitch accuracy to be .21 and the voicing accuracy to be .73. We also computed a more conservative, overall accuracy as the proportion of notes in the Melodia estimates where both the timing and pitch matched the ground truth. This overall accuracy was only .16. Thus, comparing the note for note transcriptions, we found that overall, the algorithm only agreed (on timing and pitch) with the human transcriptions about 16% of the time when considering both the exact when and where (as is typically the case in MIR evaluations, for example). However, in comparing a pitch class histogram of the expert versus automated transcriptions (see Figure A1 below), we can see that the distributions are very close (the biggest error, interestingly, is over-estimating the tonic note). While a statistical test such as a Chi-square test of independence would typically be appropriate, with the sheer volume of data points we have, even two near-identical looking distributions are likely to result in statistically-significant differences.
Figure A1. Comparison of pitch class distributions from human vs. automated transcription methods. The blue bars show the pitch class distribution for the 206 expert-transcribed songs from the CoCoPops corpus, compared against the distribution for the same set of automatically transcribed songs by the MIR algorithm, Melodia, in orange. All songs were transposed to the key of C.
As mentioned in our paper, the error introduced by the automated transcription should be randomly distributed across all decades of the corpus, in which case we presume that given the volume of data we have, our results should be reliable. However, we acknowledge that the accuracy is very bad. The low overall accuracy may be caused by several reasons. First, in the CoCoPops dataset the annotators identified only the vocal melody, whereas Melodia identifies any salient melody notes (instrumental or vocal) which means that large sections of "error" are common during introductions, solos, etc. Second, since the instrumentation, timbres, and effects for songs vary, so does the strength of the note estimates. In particular, the algorithm does best on songs where there is a single vocalist and a homophonic accompaniment such as a folksong with strummed guitar (e.g., John Denver's "Back Home Again"). Segments containing prominent instrumental lines, multiple vocal lines (i.e., singing in harmony), or that contain unpitched (or "quasi-pitched") vocals, the performance of the algorithm is particularly poor. We examined in detail the best and worst performing transcriptions by Melodia. Figure A2 below shows a comparison between human and automated transcription for "Back Home Again" by John Denver, which had an overall accuracy score of .77 which was the best output, against the two transcriptions for "Jungle Boogie" by Kool and the Gang, which had an accuracy score of .06.
Figure A2. Best & Worst transcriptions according to human vs. automated transcription methods. Back Home Again" (left) ,with accuracy score of .77, is a very straightforward production, primarily John Denver with guitar accompaniment. Denver's voice is very prominent in the mix. "Jungle Boogie" by Kool and the Gang, which had an accuracy score of .06, contains close vocal harmony, sparse vocal melody, and prominent instrumental melody.
APPENDIX B
Changes to Billboard Ranking Methodology
Billboard's Hot 100 chart has continually attempted to reflect the 100 most popular music singles. The measurement of what constitutes "most popular" has changed over time to reflect technological changes in the way music is distributed to the listening public. The following is a history of the changes to the Hot 100 from the Billboard.com website (Trust 2019):
| Nov 12, 1955 | TheTop 100 singles chart debuts. |
|---|---|
| August 4, 1958 | The Hot 100 debut's, replacing Top 100 singles chart. |
| Nov. 30, 1991 | The Billboard Hot 100 transforms from a tally combining ranked airplay and sales reports submitted by radio stations and retailers, respectively, to one based on electronically monitored airplay by Broadcast Data Systems (BDS) and singles sales data from SoundScan. |
| Dec. 5, 1998 | For the first time in the Hot 100's then-40-year history, songs do not need to be commercially-available singles (at the time on CD, cassette or vinyl). By the mid-'90s, record labels were promoting many songs to radio but withholding their physical single releases, hoping that listeners would then buy the songs' (more expensive) parent albums. |
| Feb. 12, 2005 | The Hot 100 begins incorporating digital sales data, reflecting the rise of iTunes, among other online retailers; the Digital Song Sales chart begins ranking the top-selling downloads of the week. |
| March 2, 2013 | The Hot 100 begins incorporating YouTube data. Sparked by the addition, Baauer's viral hit "Harlem Shake" debuts at No. 1. |
APPENDIX C
Complete List of Songs in the Corpus by Year
| 1958 | Johnny Cash, The Ways Of A Woman In Love The Everly Brothers, Bird Dog Peggy Lee, Fever Jimmy Clanton, Just A Dream | Chuck Berry, Sweet Little Rock And Roll Count Basie, Going To Chicago Blues Louis Prima & Keely Smith, That Old Black Magic |
|---|---|---|
| 1959 | Johnny Horton, Johnny Reb Cliff Richard, Living Doll Ray Charles, (Night Time Is) The Right Time Fats Domino, Be My Guest Elvis Presley, One Night Elvis Presley, My Wish Came True Johnny Horton, The Battle Of New Orleans | Santo & Johnny, Sleep Walk Johnny Cash, I Got Stripes LaVern Baker, I Cried A Tear Fats Domino, I Want To Walk You Home Rod Bernard, This Should Go On Forever Chuck Berry, Almost Grown Dinah Washington, Unforgettable |
| 1960 | Marty Robbins, Big Iron Charlie Rich, Lonely Weekends Bing Crosby, Silent Night Jimmy Jones, Handy Man Floyd Cramer, Last Date | Brenda Lee, Sweet Nothin's Dion, Where Or When Jimmy Reed, Baby What You Want Me To Do The Ventures, Perfidia |
| 1961 | Ike & Tina Turner, It's Gonna Work Out Fine Dion, Runaround Sue James Brown, I Don't Mind Elvis Presley, (Marie's the Name) His Latest Flame Brenda Lee, Dum Dum Don Gibson, Sea Of Heartbreak Ben E. King, Amor Gene Pitney, Town Without Pity The String-A-Longs, Wheels James Brown, Baby, You're Right | The Everly Brothers, Ebony Eyes The Crystals, There's No Other (Like My Baby) Johnny Tillotson, Jimmy's Girl The Everly Brothers, Walk Right Back The Shirelles, Will You Love Me Tomorrow Etta James, Fool That I Am Gary U.S. Bonds, Quarter To Three Elvis Presley, Little Sister The Miracles, Mighty Good Lovin' |
| 1962 | The Everly Brothers, That's Old Fashioned (That's The Way Love Should Be) Dion, (I was) Born To Cry Bing Crosby, White Christmas Eddie Holland, Jamie Brenda Lee, Heart In Hand Bertha Tillman, Oh My Angel The Beach Boys, Surfin' Safari The Crystals, He's A Rebel Brenda Lee, All Alone Am I Bo Diddley, You Can't Judge A Book By The Cover Johnny Tillotson, It Keeps Right On A-Hurtin' The Falcons, I Found A Love | Mel Torme, Comin' Home Baby Brenda Lee, Everybody Loves Me But You Dinah Washington, Where Are You Bruce Channel, Hey! Baby Chubby Checker, The Twist Jimmy Smith, Walk On The Wild Side (Part 1) Hank Snow, I've Been Everywhere Nat "King" Cole, Ramblin' Rose Little Joey & The Flips, Bongo Stomp Etta James, Stop The Wedding Dion, Lovers Who Wander Gladys Knight & The Pips, Letter Full Of Tears Paul Anka, Love Me Warm And Tender |
| 1963 | Brenda Lee, Losing You Dion, Ruby Baby Jackie Wilson, Baby Workout Etta James, Would It Make Any Difference To You LaVern Baker, See See Rider Nat "King" Cole, Those Lazy-Hazy-Crazy Days Of Summer Johnny Tillotson, Out Of My Mind Barbara Lewis, Hello Stranger Chris Kenner, Land Of 1000 Dances Johnny Tillotson, Talk Back Trembling Lips | Dion, This Little Girl Dion, Love Came To Me Bobby Bare, Detroit City The Moments, Walk Right In The Ronettes, Be My Baby The Fireballs, Sugar Shack The Beach Boys, In My Room Solomon Burke, If You Need Me The Chiffons, He's So Fine Dave Dudley, Six Days On The Road The Drifters, On Broadway |
| 1964 | Otis Redding, Chained And Bound Barbra Streisand, Funny Girl Jan & Dean, The Anaheim, Azusa & Cucamonga Sewing Circle, Book Review And Timing Association Willie Mitchell, 20-75 Johnny Tillotson, Worried Guy Jan & Dean, The Little Old Lady (From Pasadena) The Beach Boys, Wendy Lesley Gore, You Don't Own Me Jan & Dean, Sidewalk Surfin' J. Frank Wilson and The Cavaliers, Last Kiss | Barbra Streisand, People The Rolling Stones, Not Fade Away Brenda Lee, As Usual B.B. King, How Blue Can You Get Louis Armstrong, Hello, Dolly! Irma Thomas, Wish Someone Would Care Johnny Tillotson, I Rise, I Fall Elvis Presley, Ask Me The Beatles, Do You Want To Know A Secret Dean Martin, Everybody Loves Somebody |
| 1965 | Roy Head, Treat Her Right Simon & Garfunkel, The Sounds Of Silence Brenda Lee, Too Many Rivers Dean Martin, I Will Sonny & Cher, Baby Don't Go The Castaways, Liar, Liar Wilson Pickett, In The Midnight Hour Martha & The Vandellas, Nowhere To Run Joan Baez, There But For Fortune | Buck Owens, I've Got A Tiger By The Tail Ray Charles, Crying Time James Brown, I Got You (I Feel Good) Bobbi Martin, I Love You So The Yardbirds, Heart Full Of Soul Otis Redding, I've Been Loving You Too Long (To Stop Now) Fontella Bass, Rescue Me |
| 1966 | Swingin' Medallions, Double Shot (Of My Baby's Love) Brenda Lee, Coming On Strong Buck Owens, Think Of Me The Rolling Stones, Have You Seen Your Mother, Baby, Standing In The Shadow? The Byrds, Eight Miles High The Yardbirds, Shapes Of Things The Temptations, Ain't Too Proud To Beg The Kinks, Till The End Of The Day The Chiffons, Sweet Talkin' Guy | Simon & Garfunkel, A Hazy Shade Of Winter Bobby Darin, If I Were A Carpenter Ray Charles, Let's Go Get Stoned Donovan, Sunshine Superman Paul Revere & The Raiders, Kicks Aaron Neville, Tell It Like It Is The Righteous Brothers, (You're My) Soul And Inspiration Nancy Sinatra, These Boots Are Made For Walkin' Roger Miller, You Can't Roller Skate In A Buffalo Herd |
| 1967 | Marvin Gaye,Tammi Terrell, If I Could Build My Whole World Around You Nitty Gritty Dirt Band, Buy For Me The Rain The Animals, San Franciscan Nights The Turtles, Happy Together The Buckinghams, Kind Of A Drag Elvis Presley, Judy James Brown, Cold Sweat - Part 1 The Music Explosion, Little Bit O' Soul Roy Orbison, Cry Softly Lonely One Simon & Garfunkel, Fakin' It The Who, Happy Jack Wilson Pickett, I'm In Love Sagittarius, My World Fell Down Jimmy Ruffin, I've Passed This Way Before Four Tops, Standing In The Shadows Of Love | The Sopwith "Camel", Hello Hello The Rolling Stones, Dandelion The Hollies, Carrie-Anne The Electric Prunes, I Had Too Much To Dream (Last Night) Marvin Gaye,Kim Weston, It Takes Two The Music Machine, The People In Me Arthur Conley, Sweet Soul Music Aretha Franklin, Chain Of Fools Wilson Pickett, Soul Dance Number Three The 5th Dimension, Go Where You Wanna Go The Byrds, Goin' Back Lesley Gore, California Nights Aretha Franklin, I Never Loved A Man (The Way I Love You) |
| 1968 | Elvis Presley, If I Can Dream Jerry Jeff Walker, Mr. Bojangles Simon & Garfunkel, Mrs. Robinson The Rascals, People Got To Be Free The Box Tops, Cry Like A Baby Wilson Pickett, I Found A True Love Ray Charles, Eleanor Rigby Elvis Presley, Guitar Man B.J. Thomas, Hooked On A Feeling Tommy James, Mony Mony The Temptations, I Wish It Would Rain The Amboy Dukes, Journey To The Center Of The Mind Blue Cheer, Summertime Blues Iron Butterfly, In-A-Gadda-Da-Vida | Steppenwolf, Born To Be Wild The Miracles, I Second That Emotion Joe Cocker, With A Little Help From My Friends Max Frost & The Troopers, Shape Of Things To Come Canned Heat, On The Road Again Dion, Abraham, Martin And John Marty Robbins, I Walk Alone Otis Redding, (Sittin' On) The Dock Of The Bay Creedence Clearwater Revival, I Put A Spell On You Cream, Sunshine Of Your Love Flatt & Scruggs, Foggy Mountain Breakdown Peggy Lee, Is That All There Is The Who, Pinball Wizard |
| 1969 | Creedence Clearwater Revival, Bad Moon Rising The Rolling Stones, Honky Tonk Women The Youngbloods, Get Together Sly & The Family Stone, I Want To Take You Higher Tommy James, Crystal Blue Persuasion Sly & The Family Stone, Hot Fun In The Summertime Little Anthony & The Imperials, Out Of Sight, Out Of Mind Badfinger, Maybe Tomorrow Brother Jack McDuff, Theme From Electric Surfboard The Isley Brothers, It's Your Thing Clarence Carter, Too Weak To Fight Glen Campbell, Galveston | The Miracles, Baby, Baby Don't Cry Crosby, Stills & Nash, Suite: Judy Blue Eyes The Cowsills, Silver Threads And Golden Needles The Youngbloods, Get Together Janis Joplin, Kozmic Blues Glen Campbell, Wichita Lineman The Jacksons, I Want You Back The Beach Boys, Bluebirds Over The Mountain Oliver, Good Morning Starshine The Cowsills, Hair Jimmy Cliff, Wonderful World, Beautiful People |
| 1970 | Chicago, Does Anybody Really Know What Time It Is? The Tee Set, Ma Belle Amie Crosby, Stills & Nash, Teach Your Children James Brown, Get Up (I Feel Like Being Like A) Sex Machine (Part 1) Clarence Carter, Patches Glen Campbell, It's Only Make Believe The Supremes, Stoned Love Chicago, Make Me Smile David Ruffin,Jimmy Ruffin, Stand By Me Santana, Evil Ways | Simon & Garfunkel, Cecilia Edwin Starr, War R. Dean Taylor, Indiana Wants Me Chicago, 25 Or 6 To 4 Rare Earth, Get Ready B.B. King, The Thrill Is Gone Simon & Garfunkel, El Condor Pasa Ray Price, For The Good Times The Meters, Look-Ka Py Py Canned Heat, Let's Work Together Ike & Tina Turner, I Want To Take You Higher |
| 1971 | Simon & Garfunkel, Cecilia Edwin Starr, War R. Dean Taylor, Indiana Wants Me Chicago, 25 Or 6 To 4 Rare Earth, Get Ready B.B. King, The Thrill Is Gone Simon & Garfunkel, El Condor Pasa Ray Price, For The Good Times The Meters, Look-Ka Py Py Canned Heat, Let's Work Together Ike & Tina Turner, I Want To Take You Higher | Bobby Womack, That's The Way I Feel About Cha Elton John, Levon Jimi Hendrix, Freedom Elvis Presley, I Really Don't Want To Know The Miracles, I Don't Blame You At All Five Man Electrical Band, Absolutely Right The Doors, Riders On The Storm The 5th Dimension, One Less Bell To Answer Gladys Knight & The Pips, If I Were Your Woman Graham Nash, Chicago Tom T. Hall, The Year That Clayton Delaney Died Ocean, Put Your Hand In The Hand James Taylor, Country Road Tom Jones, She's A Lady Cornelius Brothers & Sister Rose, Treat Her Like A Lady Stevie Wonder, If You Really Love Me |
| 1972 | Eric Clapton, Let It Rain Jethro Tull, Living In The Past Bobby Womack, Sweet Caroline (Good Times Never Seemed So Good) The Rolling Stones, Tumbling Dice Isaac Hayes, Do Your Thing Looking Glass, Brandy (You're A Fine Girl) The Staple Singers, I'll Take You There The 5th Dimension, (Last Night) I Didn't Get To Sleep At All Bread, Sweet Surrender The Hollies, Long Dark Road | Aretha Franklin, Oh Me Oh My (I'm A Fool For You Baby) Gordon Lightfoot, Beautiful The J. Geils Band, Looking For A Love John Denver, Rocky Mountain High Chuck Berry, Reelin' & Rockin' The 5th Dimension, If I Could Reach You Alice Cooper, School's Out Sonny & Cher, A Cowboys Work Is Never Done Harry Chapin, Sunday Morning Sunshine The Supremes, Floy Joy |
| 1973 | Donna Fargo, Superman James Brown, Think The O'Jays, Love Train Tom T. Hall, I Love Stevie Wonder, Higher Ground Chicago, Feelin' Stronger Every Day Elton John, Goodbye Yellow Brick Road Led Zeppelin, Over The Hills And Far Away Marie Osmond, Paper Roses Dr. John, Right Place Wrong Time Charlie Rich, Behind Closed Doors Focus, Hocus Pocus Edgar Winter, Frankenstein | Brownsville Station, Smokin' In The Boy's Room Jackson Browne, Redneck Friend James Brown, Down And Out In New York City Led Zeppelin, D'yer Mak'er Elvis Presley, For Ol' Times Sake Pink Floyd, Money Paul McCartney, My Love Ann Peebles, I Can't Stand The Rain David Bowie, Space Oddity Grand Funk Railroad, Walk Like A Man The Dramatics, Hey You! Get Off My Mountain Rita Coolidge, Fever |
| 1974 | Gladys Knight & The Pips, Best Thing That Ever Happened To Me Melba Montgomery, No Charge Abba, Honey, Honey Barry White, You're The First, The Last, My Everything Gloria Gaynor, Never Can Say Goodbye The Jacksons, Dancing Machine Steve Miller Band, The Joker Elton John, The Bitch Is Back Wednesday, Last Kiss Rick Derringer, Rock And Roll, Hoochie Koo James Brown, My Thang Anne Murray, Love Song Eric Clapton, Willie And The Hand Jive Kool & The Gang, Jungle Boogie Paul Anka, Let Me Get To Know You John Denver, Annie's Song | Eagles, Already Gone ZZ Top, La Grange Todd Rundgren, A Dream Goes On Forever Jimmy Buffett, Come Monday Charlie Rich, A Very Special Love Song The J. Geils Band, Must Of Got Lost Redbone, Come And Get Your Love John Denver, Back Home Again The Rolling Stones, It's Only Rock 'N Roll (But I Like It) Paper Lace, The Night Chicago Died The Staple Singers, City In The Sky The Rolling Stones, Doo Doo Doo Doo Doo (Heartbreaker) Billy Swan, I Can Help Carl Carlton, Everlasting Love Roberta Flack, Feel Like Makin' Love Lynyrd Skynyrd, Sweet Home Alabama |
| 1975 | Eagles, Lyin' Eyes Dr. Hook, The Millionaire Joni Mitchell, Big Yellow Taxi Linda Ronstadt, When Will I Be Loved Eagles, Best Of My Love Elvis Presley, My Boy Glen Campbell, Rhinestone Cowboy Minnie Riperton, Lovin' You Bachman-Turner Overdrive, Roll On Down The Highway The Beach Boys, Sail On Sailor Pure Prairie League, Amie | Waylon Jennings, Are You Sure Hank Done It This Way Al Green, Oh Me, Oh My (Dreams In My Arms) David Crosby,Graham Nash, Carry Me Willie Nelson, Blue Eyes Crying In The Rain Freddy Fender, Secret Love Bay City Rollers, Saturday Night Led Zeppelin, Trampled Under Foot Elton John, Philadelphia Freedom Shirley Brown, Woman To Woman Chicago, Old Days |
| 1976 | Chicago, Another Rainy Day In New York City Heart, Magic Man Cliff Richard, Devil Woman Paul Simon, 50 Ways To Leave Your Lover Foghat, Drivin' Wheel Aerosmith, Last Child Freddy Fender, Living It Down George Benson, Breezin' David Bowie, Golden Years Tanya Tucker, Here's Some Love Wild Cherry, Play That Funky Music Eric Carmen, Sunrise | The Ritchie Family, The Best Disco In Town Abba, Fernando Candi Staton, Young Hearts Run Free Marvin Gaye, I Want You Steve Miller Band, Rock'n Me Daryl Hall & John Oates, Sara Smile Bobbie Gentry, Ode To Billie Joe Dr. Hook, Only Sixteen Double Exposure, Ten Percent Neil Sedaka, Breaking Up Is Hard To Do Mary MacGregor, Torn Between Two Lovers Earth, Wind & Fire, Getaway |
| 1977 | Glen Campbell, Sunflower Kenny Rogers, Lucille Gladys Knight & The Pips, Baby Don't Change Your Mind Commodores, Easy The Trammps, Disco Inferno Elvis Presley, She Thinks I Still Care Paul McCartney, Maybe I'm Amazed Thelma Houston, Don't Leave Me This Way Alan O'Day, Undercover Angel Leo Sayer, You Make Me Feel Like Dancing The Doobie Brothers, Echoes Of Love George Harrison, Crackerbox Palace Teddy Pendergrass, I Don't Love You Anymore Rita Coolidge, We're All Alone | Bob Seger, Rock And Roll Never Forgets George Harrison, This Song Jackson Browne, Here Come Those Tears Again The Kendalls, Heaven's Just A Sin Away Dr. Hook, Walk Right In Bob Seger, Night Moves Natalie Cole, I've Got Love On My Mind Engelbert Humperdinck, After The Lovin' Little River Band, Help Is On Its Way Abba, Knowing Me, Knowing You Rita Coolidge, (Your Love Has Lifted Me) Higher And Higher Daryl Hall & John Oates, Rich Girl Dr. Hook, If Not You |
| 1978 | Cheap Trick, Surrender Chicago, Alive Again Commodores, Three Times A Lady Peaches & Herb, Shake Your Groove Thing Abba, Take A Chance On Me Andy Gibb, Shadow Dancing Jefferson Starship, Count On Me Kiss, Rocket Ride Kenny Rogers, Sweet Music Man Meat Loaf, Paradise By The Dashboard Light Billy Joel, Just The Way You Are Player, Baby Come Back The Rolling Stones, Miss You Queen, We Are The Champions Heart, Crazy On You Eric Clapton, Lay Down Sally Little River Band, Reminiscing Switch, There'll Never Be | Meat Loaf, You Took The Words Right Out Of My Mouth Bill Withers, Lovely Day Michael Johnson, Almost Like Being In Love Yvonne Elliman, If I Can't Have You John Denver, It Amazes Me Todd Rundgren, Can We Still Be Friends Jackson Browne, Running On Empty Dolly Parton, Baby I'm Burnin' The J. Geils Band, One Last Kiss Paul McCartney, With A Little Luck Little River Band, Happy Anniversary Rita Coolidge, The Way You Do The Things You Do Nick Gilder, Hot Child In The City Donna Summer, Last Dance Eric Clapton, Promises Elvis Presley, My Way |
| 1979 | Cheap Trick, I Want You To Want Me Billy Preston, With You I'm Born Again Boston, Feelin' Satisfied Bad Company, Rock 'N' Roll Fantasy Cliff Richard, We Don't Talk Anymore Earth, Wind & Fire, After The Love Has Gone Earth, Wind & Fire, September The Babys, Every Time I Think Of You Cheap Trick, Dream Police Bonnie Pointer, Heaven Must Have Sent You Bob Seger, Old Time Rock & Roll Smokey Robinson, Cruisin' | Cheap Trick, I Want You To Want Me Billy Preston, With You I'm Born Again Boston, Feelin' Satisfied Bad Company, Rock 'N' Roll Fantasy Cliff Richard, We Don't Talk Anymore Earth, Wind & Fire, After The Love Has Gone Earth, Wind & Fire, September The Babys, Every Time I Think Of You Cheap Trick, Dream Police Bonnie Pointer, Heaven Must Have Sent You Bob Seger, Old Time Rock & Roll Smokey Robinson, Cruisin' |
| 1980 | Commodores, Still Kenny Rogers, You Decorated My Life Anne Murray, Could I Have This Dance Rush, The Spirit Of Radio The J. Geils Band, Just Can't Wait Dr. Hook, Years From Now Anne Murray, Daydream Believer Pointer Sisters, He's So Shy Billy Joel, Don't Ask Me Why Eagles, The Long Run Nitty Gritty Dirt Band, Make A Little Magic Jermaine Jackson, Let's Get Serious Diana Ross, Upside Down Genesis, Misunderstanding Stephanie Mills, Never Knew Love Like This Before | Cheap Trick, Stop This Game Bob Seger, Against The Wind Johnny Lee, Lookin' For Love REO Speedwagon, Time For Me To Fly Dolly Parton, Starting Over Again Pink Floyd, Another Brick In The Wall (Part II) Kenny Rogers, Lady Bette Midler, The Rose Robert John, Lonely Eyes Jackson Browne, Boulevard Dr. Hook, Sexy Eyes Cliff Richard, Carrie Waylon Jennings, Theme From The Dukes Of Hazzard (Good Ol' Boys) Dottie West, A Lesson In Leavin' |
| 1981 | Pat Benatar, Fire And Ice The Allman Brothers Band, Straight From The Heart Pat Benatar, Promises In The Dark Billy Squier, The Stroke Kenny Rogers, I Don't Need You John Denver, Some Days Are Diamonds (Some Days Are Stone) Rick James, Give It To Me Baby The Police, Don't Stand So Close To Me Eddie Rabbitt, I Love A Rainy Night Juice Newton, Queen Of Hearts Abba, On And On And On Rick James, Super Freak (Part I) | Evelyn "Champagne" King, I'm In Love Eric Clapton, I Can't Stand It Daryl Hall & John Oates, Kiss On My List The Police, Every Little Thing She Does Is Magic George Harrison, All Those Years Ago Oak Ridge Boys, Elvira Commodores, Lady (You Bring Me Up) Rick Springfield, Jessie's Girl The Kinks, Better Things Bob Seger, Tryin' To Live My Life Without You Ronnie Milsap, I Wouldn't Have Missed It For The World A Taste Of Honey, Sukiyaki |
| 1982 | Billy Idol, Hot In The City Billy Squier, My Kinda Lover The Rolling Stones, Waiting On A Friend Alabama, Take Me Down Quarterflash, Harden My Heart The Police, Spirits In The Material World Soft Cell, Tainted Love Peter Gabriel, Shock The Monkey The Rolling Stones, Going To A Go-Go Crosby, Stills & Nash, Southern Cross Blondie, Island Of Lost Souls The Alan Parsons Project, Eye In The Sky Genesis, Abacab John Denver, Seasons Of The Heart | Judas Priest, You've Got Another Thing Comin' Stevie Wonder, Do I Do Laura Branigan, Gloria The Rolling Stones, Waiting On A Friend Stevie Wonder, That Girl Cliff Richard, Daddy's Home Joni Mitchell, (You're So Square) Baby, I Don't Care Rick Springfield, Don't Talk To Strangers Juice Newton, Break It To Me Gently The J. Geils Band, Freeze-Frame Kenny Rogers, Through The Years Yaz, Situation Greg Kihn Band, Happy Man |
| 1983 | Culture Club, I'll Tumble 4 Ya Michael Sembello, Maniac Michael Jackson, Human Nature Little River Band, The Other Guy Pat Benatar, Little Too Late Michael Jackson, Wanna Be Startin' Somethin' Spandau Ballet, TRUE Pat Benatar, Love Is A Battlefield Billy Joel, Pressure David Bowie, Modern Love Kenny Rogers, Scarlet Fever Little River Band, We Two | Michael Jackson, Beat It Bob Seger, Even Now The Weather Girls, It's Raining Men Naked Eyes, Always Something There To Remind Me Stray Cats, Rock This Town Golden Earring, Twilight Zone Daryl Hall & John Oates, Maneater Talking Heads, Burning Down The House Billy Idol, White Wedding Stray Cats, I Won't Stand In Your Way Duran Duran, Is There Something I Should Know |
| 1984 | Billy Idol, Flesh For Fantasy Culture Club, Karma Chameleon The Pointer Sisters, Jump (for My Love) General Public, Tenderness Billy Idol, Rebel Yell Ray Parker Jr., Ghostbusters Shannon, Let The Music Play Huey Lewis, I Want A New Drug Cyndi Lauper, She Bop Rockwell, Somebody's Watching Me Cyndi Lauper, All Through The Night | Debarge, Time Will Reveal David Bowie, Blue Jean Sammy Hagar, I Can't Drive 55 Billy Joel, An Innocent Man Elton John, Who Wears These Shoes? Wang Chung, Dance Hall Days Tina Turner, What's Love Got To Do With It Wham!, Wake Me Up Before You Go-Go Everly Brothers, On The Wings Of A Nightingale UB40, Red Red Wine |
| 1985 | Bruce Springsteen, I m Goin Down Gino Vannelli, Black Cars Los Lobos, Will The Wolf Survive Greg Kihn, Lucky Cyndi Lauper, The Goonies R Good Enough Gino Vannelli, Hurts To Be In Love The Power Station, Some Like It Hot Tina Turner, We Don't Need Another Hero (Thunderdome) Sting, If You Love Somebody Set Them Free Jeff Beck, People Get Ready | Eric Clapton, Forever Man Talking Heads, And She Was Baltimora, Tarzan Boy (From "Teenage Mutant Ninja Turtles III") Tina Turner, Private Dancer Commodores, Nightshift Billy Idol, Catch My Fall Kate Bush, Running Up That Hill Chicago, Along Comes A Woman Bruce Springsteen, My Hometown |
| 1986 | Cyndi Lauper, True Colors Anita Baker, Sweet Love Run-D.M.C., Walk This Way Genesis, Invisible Touch Bananarama, Venus Level 42, Something About You The Fabulous Thunderbirds, Tuff Enuff Bob Seger, American Storm | Pet Shop Boys, Love Comes Quickly Psychedelic Furs, Pretty In Pink Boston, Amanda Robert Palmer, Addicted To Love Bob Seger, Like A Rock Simple Minds, Sanctify Yourself Paul Simon, You Can Call Me Al Paul McCartney, Press |
| 1987 | The Robert Cray Band, Smoking Gun Sammy Hagar, Give To Live U2, With Or Without You Rock And Hyde, Dirty Water Rod Stewart, Twistin The Night Away (From "Innerspace") Genesis, Tonight, Tonight, Tonight Whitesnake, Here I Go Again Bananarama, A Trick Of The Night Beastie Boys, Brass Monkey | Tina Turner, What You Get Is What You See Heart, Who Will You Run To Michael Jackson With Siedah Garrett, I Just Can't Stop Loving You Freddie Jackson, Have You Ever Loved Somebody Chico DeBarge, Talk To Me Anita Baker, Caught Up In The Rapture Steve Winwood, Back In The High Life Again Gino Vannelli, Wild Horses |
| 1988 | Eric Carmen, Hungry Eyes (From "Dirty Dancing") The Contours, Do You Love Me INXS, Need You Tonight George Harrison, Got My Mind Set On You Van Halen, When It's Love Corey Hart, In Your Soul Pet Shop Boys, What Have I Done To Deserve This? Michael Jackson, Man In The Mirror Rob Base, It Takes Two | Steve Winwood, Don't You Know What The Night Can Do? The Cure, Just Like Heaven Heart, There's The Girl The Beach Boys, Kokomo (From The "Cocktail" Soundtrack) The Boys, Dial My Heart Pet Shop Boys, Always On My Mind |
| 1989 | Prince (With Sheena Easton), The Arms Of Orion Cyndi Lauper, I Drove All Night Anita Baker, Giving You The Best That I Got Milli Vanilli, Girl You Know It's True Tina Turner, The Best Crosby, Stills, Nash, Got It Made Roxette, The Look De La Soul, Me Myself And I Duran Duran, I Don't Want Your Love Billy Squier, Don't Say You Love Me | Duran Duran, All She Wants Is Cher, Just Like Jesse James Milli Vanilli, Girl I m Gonna Miss You Metallica, One Cher, If I Could Turn Back Time Neneh Cherry, Kisses On The Wind The Beach Boys, Still Cruisin Tracy Chapman, Baby Can I Hold You Milli Vanilli, Baby Don't Forget My Number |
| 1990 | Biz Markie, Just A Friend Bonnie Raitt, Nick Of Time UB40, The Way You Do The Things You Do Depeche Mode, World In My Eyes Digital Underground, The Humpty Dance Madonna, Oh Father Poison, Unskinny Bop | Wilson Phillips, Hold On Snap, The Power Kaoma, Lambada Righteous Brothers, Unchained Melody Tracie Spencer, This House Young MC, Bust A Move |
| 1991 | Richard Marx, Keep Coming Back Firehouse, Don t Treat Me Bad Sting, All This Time Queensryche, Silent Lucidity Color Me Badd, I Adore Mi Amor Geto Boys, Mind Playing Tricks On Me Pet Shop Boys, Where The Streets Have No Name Natalie Cole, Unforgettable The Rembrandts, Someone Boyz II Men, Motownphilly Urban Dance Squad, Deeper Shade Of Soul | Alice Cooper, Hey Stoopid Marc Cohn, Walking In Memphis Michael Jackson, Black Or White Shanice, I Love Your Smile Marky Mark, Good Vibrations Public Enemy, Can't Truss It The La's, There She Goes Jesus Jones, Right Here, Right Now Tevin Campbell, Tell Me What You Want Me To Do Hi-Five, I Like The Way (The Kissing Game) Stevie B, Because I Love You (The Postman Song) |
| 1992 | P.M. Dawn, Paper Doll Scorpions, Send Me An Angel Jodeci, Forever My Lady Luther Vandross And Janet Jackson With BBD And Ralph Tresvant, The Best Things In Life Are Free Vanessa Williams, Save The Best For Last Toad The Wet Sprocket, All I Want Mr. Big, Just Take My Heart Michael Bolton, To Love Somebody Def Leppard, Let's Get Rocked The Outfield, Closer To Me Paul Young, What Becomes Of The Brokenhearted Me Phi Me, Sad New Day M.C. Hammer, 2 Legit 2 Quit Snap!, Rhythm Is A Dancer Michael Jackson, Remember The Time En Vogue, Giving Him Something He Can Feel Red Hot Chili Peppers, Give It Away Tevin Campbell, Goodbye R. Kelly & Public Announcement, Honey Love The Northern Pikes, She Ain't Pretty C+C Music Factory Presents Zelma Davis, Just A Touch Of Love | Peter Gabriel, Digging In The Dirt Mad Cobra, Flex Swing Out Sister, Am I The Same Girl Joe Public, Do You Everynite After 7, Baby I'm For Real/Natural High Keith Sweat, Keep It Comin' Ugly Kid Joe, Everything About You John Mellencamp, Again Tonight Genesis, I Can't Dance Color Me Badd, Forever Love (From "Mo' Money") C+C Music Factory, Keep It Comin' (Dance Till You Can't Dance No More!) MC Luscious, Boom! I Got Your Boyfriend Jude Cole, Start The Car Del Amitri, Always The Last To Know Metallica, Nothing Else Matters Shabba Ranks (feat. Johnny Gill), Slow And Sexy Brotherhood Creed, Helluva Bad Company, How About That Clivilles & Cole, A Deeper Love/Pride In The Name Of Love CeCe Peniston, Finally |
| 1993 | Toad The Wet Sprocket, Walk On The Ocean Jon Secada, Do You Believe In Us Spin Doctors, Jimmy Olsen's Blues Bruce Hornsby, Fields Of Gray New Order, Regret Prince And The New Power Generation, 7 Joey Lawrence, Nothin' My Love Can't Fix Peter Cetera, Even A Fool Can See Boss, Deeper U.N.V., Something's Goin' On Duran Duran, Ordinary World Ice Cube, It Was A Good Day Depeche Mode, Walking In My Shoes Rapination & Kym Mazelle, Love Me The Right Way Sade, Kiss Of Life Madonna, Bad Girl TLC, Hat 2 Da Back Shai, Comforter Silk, Girl U For Me/Lose Control Naughty By Nature, Hip Hop Hooray Captain Hollywood Project, More And More | Radiohead, Creep Celine Dion And Clive Griffin, When I Fall In Love (From "Sleepless In Seattle") Jade, One Woman Tears For Fears, Break It Down Again Bell Biv DeVoe, Something In Your Eyes SWV, Weak Grand Puba, 360 Degrees (What Goes Around) Sunscreem, Love U More Father M.C., Everything's Gonna Be Alright Vanessa Williams/Brian McKnight, Love Is (From "Beverly Hills, 90210") Peabo Bryson & Regina Belle, A Whole New World (Aladdin's Theme) Ice Cube feat. Das EFX, Check Yo Self UB40, Can't Help Falling In Love (From "Sliver") Faith No More, Easy K7, Come Baby Come Expose, I'll Never Get Over You (Getting Over Me) Geto Boys, Six Feet Deep |
| 1994 | Little Texas, My Love Xscape, Love On My Mind John Mellencamp With Me'Shell Ndegeocello, Wild Night Shaquille O'Neal, Biological Didn't Bother Chantay Savage, Betcha'll Never Find Kate Bush, Rubberband Girl Aaliyah, At Your Best (You Are Love) Da Brat, Funkdafied Meat Puppets, Backwater Keith Sweat, How Do You Like It? CeCe Peniston, I'm Not Over You Mad Lion, Take It Easy | The Notorious B.I.G., Juicy Nine Inch Nails, Closer Crash Test Dummies, Mmm Mmm Mmm Mmm Masta Ace Incorporated, Born To Roll Candlebox, Far Behind The Rolling Stones, Out Of Tears Danzig, Mother Liz Phair, Supernova Big Mountain, Baby I Love Your Way (From "Reality Bites") BLACKstreet, Booti Call Toni Braxton, I Belong To You/How Many Ways Hootie & The Blowfish, Hold My Hand |
| 1995 | Hootie & The Blowfish, Let Her Cry Mary J. Blige, I Love You/You Bring Me Joy Dis `N' Dat Feat. 95 South,69 Boyz & K-Nock, Freak Me Baby After 7, 'Til You Do Me Right Chef Raekwon, Glaciers Of Ice/Criminology Sponge, Molly (Sixteen Candles) Folk Implosion, Natural One (From "Kids") 2Pac, Dear Mama/Old School K-Ci Hailey, If You Think You're Lonely Now Monica, Before You Walk Out Of My Life/Like This And Like That Method Man, Bring The Pain Groove Theory, Tell Me Vicious, Nika Madonna, Take A Bow Joe Diffie, So Help Me Girl | Pretenders, I'll Stand By You Capleton, Wings Of The Morning Martin Page, In The House Of Stone And Light Dionne Farris, I Know Bruce Hornsby, Walk In The Sun Portishead, Sour Times (Nobody Loves Me) 69 Boyz, Kitty Kitty R.E.M., What's The Frequency, Kenneth? Brian McKnight, Crazy Love (From "Jason's Lyric") Bone Thugs-N-Harmony, East 1999 Melissa Etheridge, I'm The Only One Amy Grant, Big Yellow Taxi Yaki-Da, I Saw You Dancing Ty Herndon, What Mattered Most Corona, The Rhythm Of The Night Los Del Rio, Macarena (Bayside Boys Mix) |
| 1996 | 112 feat. The Notorious B.I.G., Only You Jewel, Who Will Save Your Soul Az Yet, Last Night (From "The Nutty Professor") Kenny G, The Moment The Smashing Pumpkins, 1979 T-Boz, Touch Myself (From "Fled") Shades, Tell Me (I'll Be Around) Melissa Etheridge, I Want To Come Over Warren G feat. Adina Howard, What's Love Got To Do With It (From "Supercop") Junior M.A.F.I.A. feat. The Notorious B.I.G., Get Money Ghost Town DJ's, My Boo Alanis Morissette, Ironic Michael Jackson, They Don't Care About Us Coolio, It's All The Way Live (Now) (From "Eddie") Donna Lewis, I Love You Always Forever Bone Thugs-N-Harmony, Tha Crossroads The Tony Rich Project, Nobody Knows Jann Arden, Insensitive (From "Bed Of Roses") Oasis, Wonderwall Crush, Jellyhead | Keith Sweat, Twisted Janet Jackson, Runaway Amanda Marshall, Birmingham Fat Joe, Firewater Dru Hill, Tell Me (From "Eddie") Jocelyn Enriquez, Do You Miss Me Goodie Mob, Soul Food Gin Blossoms, Follow You Down/Til I Hear It From You Bryan Adams, The Only Thing That Looks Good On Me Is You Quincy Jones Introducing Tamia, You Put A Move On My Heart Phil Collins, Dance Into The Light Faith Evans, Soon As I Get Home Charm Farm, Superstar Aaliyah, If Your Girl Only Knew Ace Of Base, Beautiful Life Monifah, I Miss You (Come Back Home) (From "New York Undercover") Bush, Comedown |
| 1997 | Seal, Fly Like An Eagle (From "Space Jam") Duncan Sheik, Barely Breathing Richie Rich, Let's Ride The Wonders, That Thing You Do! (From "That Thing You Do!") DJ Company, Rhythm Of Love LeAnn Rimes, You Light Up My Life No Mercy, When I Die Babyface, Every Time I Close My Eyes Savage Garden, To The Moon And Back Savage Garden, I Want You Wyclef Jean feat. Refugee Allstars, We Trying To Stay Alive Rome, Do You Like This Madonna, Don't Cry For Me Argentina (From "Evita") No Mercy, Please Don't Go Montell Jordan, What's On Tonight Angelina, Without Your Love Montell Jordan, Falling Raybon Bros., Butterfly Kisses | Jewel, Foolish Games/You Were Meant For Me Metallica, Hero Of The Day Sarah McLachlan, Building A Mystery Freak Nasty, Da' Dip The Notorious B.I.G., Hypnotize Westside Connection, Gangstas Make The World Go Round New Edition, One More Day Tru feat. Ice Cream Man (Master P), I Always Feel Like (Somebody's Watching Me) Donell Jones, Knocks Me Off My Feet Leah Andreone, It's Alright, It's Ok Az Yet feat. Peter Cetera, Hard To Say I'm Sorry Mase, Feel So Good Monica, For You I Will (From "Space Jam") En Vogue, Too Gone, Too Long Brownstone, 5 Miles To Empty U2, Last Night On Earth Beck, The New Pollution Kenny G, Havana |
| 1998 | Kinsu, Tha Hop Divine, Lately Hanson, I Will Come To You Solo, Touch Me Busta Rhymes, Turn It Up [Remix]/Fire It Up Spice Girls, Stop Terri Clark, Now That I Found You Xscape, The Arms Of The One Who Loves You Kimberly Scott, Tuck Me In Jennifer Paige, Crush Mos Def & Kweli Are Black Star, Definition Monica, The First Night Swirl 360, Hey Now Now Various Artists, One Heart At A Time Shania Twain, You're Still The One Tori Amos, Jackie's Strength Paula Cole, I Don't Want To Wait Tracy Byrd, I'm From The Country Sarah McLachlan, Adia Metallica, The Memory Remains WC From Westside Connection, Just Clownin' Backstreet Boys, Quit Playing Games (With My Heart) | Do Or Die feat. Johnny P & Twista, Still Po' Pimpin' Usher, You Make Me Wanna… Faith Hill, This Kiss P.M. Dawn, I Had No Right Public Announcement, Body Bumpin' Yippie-Yi-Yo 'N Sync, I Want You Back Aaliyah, The One I Gave My Heart To Lord Tariq & Peter Gunz, Deja Vu [Uptown Baby] Nicole feat. Missy "Misdemeanor" Elliott & Mocha, Make It Hot The Lox [feat. DMX & Lil' Kim], Money, Power & Respect Third Eye Blind, How's It Going To Be Luke feat. No Good But So Good, Raise The Roof Ace Of Base, Cruel Summer JD feat. Jay-Z, Money Ain't A Thang Master P feat. Sons Of Funk, I Got The Hook Up! Madonna, Ray Of Light LL Cool J feat. Method Man, Redman, DMX, Canibus And Master P, 4, 3, 2, 1 Tamia, Imagination |
| 1999 | Joey McIntyre, Stay The Same Orgy, Blue Monday Sugar Ray, Every Morning Backstreet Boys, I Want It That Way Coko, Sunshine Bush, The Chemicals Between Us The Wilkinsons, Fly (The Angel Song) The Beatnuts feat. Yellaklaw, Watch Out Now T.W.D.Y. feat. Too Short & Mac Mall, Players Holiday Nas, Nas Is Like Juvenile, Ha Andy Griggs, I'll Go Crazy | Dave Hollister, My Favorite Girl Tyrese, Sweet Lady Deborah Cox, It's Over Now Silk, If You (Lovin' Me) Kenny Chesney, How Forever Feels Red Hot Chili Peppers, Scar Tissue Mark Wills, Wish You Were Here Alan Jackson, Pop A Top Clay Walker, You're Beginning To Get To Me Lit, My Own Worst Enemy Alanis Morissette, Unsent Jewel, Down So Long |
| 2000 | Kelly Price & Friends, Love Sets You Free Ruff Endz, No More Santana feat. Rob Thomas, Smooth Collin Raye, Couldn't Last A Moment Mandy Moore, I Wanna Be With You Nu Flavor, 3 Little Words Lara Fabian, I Will Love Again Creed, Higher Sisqo, Thong Song Erykah Badu, Bag Lady Donell Jones, Where I Wanna Be Dr. Dre feat. Snoop Dogg, The Next Episode George Strait, Go On Ying Yang Twins, Whistle While You Twurk Savage Garden, Crash And Burn Red Hot Chili Peppers, Californication | Billy Ray Cyrus, You Won't Be Lonely Now Toby Keith, Country Comes To Town Filter, Take A Picture SHeDAISY, I Will…But Kelis, Caught Out There Montell Jordan, Get It On Tonite R.E.M., The Great Beyond Goo Goo Dolls, Broadway Mya feat. Jadakiss, Best Of Me Santana feat. The Product G&B, Maria Maria Faith Hill, The Way You Love Me Dr. Dre feat. Eminem, Forgot About Dre Vertical Horizon, Everything You Want Third Eye Blind, Deep Inside Of You 3 Doors Down, Kryptonite Creed, With Arms Wide Open |
| 2001 | Lonestar, I'm Already There Cash Money Millionaires, Project Chick Tank, Maybe I Deserve Martina McBride, When God-Fearin' Women Get The Blues Limp Bizkit, My Way Ricky Martin Duet With Christina Aguilera, Nobody Wants To Be Lonely P!nk, You Make Me Sick Whitney Houston, The Star Spangled Banner LFO, Every Other Time | Busta Rhymes, Break Ya Neck Mystikal feat. Nivea, Danger (Been So Long) 112, Dance With Me Toya, I Do!! P.O.D., Alive Faith Hill, There You'll Be Musiq, Just Friends (Sunny) Alan Jackson, When Somebody Loves You Lifehouse, Hanging By A Moment Monica, Just Another Girl Shakira, Whenever, Wherever |
| 2002 | Dixie Chicks, Long Time Gone Christina Aguilera feat. Redman, Dirrty Kelly Rowland, Stole Brandy, What About Us? Sean Paul, Gimme The Light Angie Stone, Wish I Didn't Miss You Tanto Metro & Devonte, Give It To Her Ja Rule feat. Ashanti, Always On Time Vanessa Carlton, A Thousand Miles Justin Timberlake, Like I Love You Five For Fighting, Superman (It's Not Easy) Puddle Of Mudd, Control Musiq, halfcrazy Audioslave, Cochise Sheryl Crow, Soak Up The Sun Creed, My Sacrifice Tweet, Oops (Oh My) Steve Holy, Good Morning Beautiful Bubba Sparxxx, Ugly Sara Evans, I Keep Looking | Eve feat. Alicia Keys, Gangsta Lovin' Erykah Badu feat. Common, Love Of My Life (An Ode To Hip Hop) Lil Bow Wow, Take Ya Home No Doubt feat. Bounty Killer, Hey Baby Pastor Troy feat. Ms. Jade, Are We Cuttin' Busta Rhymes feat. P. Diddy & Pharrell, Pass The Courvoisier Part II Isyss feat. Jadakiss, Day + Night Martina McBride, Blessed Mario, Just A Friend 2002 Sheryl Crow, Steve McQueen Ludacris feat. Mystikal & Infamous 2.0, Move B***h 'N Sync feat. Nelly, Girlfriend Ludacris, Roll Out (My Business) Kenny Chesney, Young P. Diddy feat. Usher & Loon, I Need A Girl (Part One) Diamond Rio, Beautiful Mess |
| 2003 | Gary Allan, Man To Man Jewel, Intuition Our Lady Peace, Somewhere Out There Gary Allan, Tough Little Boys Santana feat. Michelle Branch, The Game Of Love Fleetwood Mac, Peacekeeper Dixie Chicks, Landslide John Mayer, Bigger Than My Body Floetry, Say Yes Musiq, dontchange Eminem, Lose Yourself Kelly Clarkson, Miss Independent | Thalia feat. Fat Joe, I Want You Eve, Satisfaction 3 Doors Down, Here Without You Liz Phair, Why Can't I? Ludacris, Act A Fool Kid Rock feat. Sheryl Crow Or Allison Moorer, Picture Tim McGraw, She's My Kind Of Rain Jane's Addiction, Just Because LL Cool J feat. Amerie, Paradise Fabolous feat. Mike Shorey & Lil' Mo, Can't Let You Go |
| 2004 | Sara Evans, Suds In The Bucket Akon feat. Styles P., Locked Up JAY-Z, 99 Problems Usher, Confessions Part II Christina Milian, Dip It Low Beyonce, Dangerously In Love Lloyd Banks, On Fire Gretchen Wilson, Redneck Woman U2, Vertigo T.I., Let's Get Away Velvet Revolver, Slither Fuel, Falls On Me Toby Keith, American Soldier Brad Paisley feat. Alison Krauss, Whiskey Lullaby Cassidy feat. R. Kelly, Hotel Slum Village feat. Kanye West & John Legend, Selfish Incubus, Megalomaniac Toby Keith, Whiskey Girl Linkin Park, Lying From You | Trapt, Still Frame Nickelback, Figured You Out Ryan Cabrera, On The Way Down Brooks & Dunn, You Can't Take The Honky Tonk Out Of The Girl Alan Jackson, Too Much Of A Good Thing NB Ridaz feat. Gemini, So Fly Nelly, Flap Your Wings Sara Evans, Perfect Lionel Richie, Just For You Yung Wun feat. DMX, Lil' Flip & David Banner, Tear It Up David Lee Murphy, Loco Marques Houston feat. Jermaine "JD" Dupri, Pop That Booty Kelis, Milkshake Usher, Burn Jet, Are You Gonna Be My Girl Jet, Cold Hard Bitch OutKast feat. Sleepy Brown, The Way You Move |
| 2005 | Finger Eleven, One Thing Rob Thomas, Lonely No More Sugarland, Something More Trisha Yearwood, Georgia Rain LeAnn Rimes, Probably Wouldn't Be This Way Keyshia Cole, I Should Have Cheated Snoop Dogg feat. Charlie Wilson & Justin Timberlake, Signs The Black Eyed Peas, Don't Phunk With My Heart Jamie Foxx feat. Ludacris, Unpredictable Kelly Clarkson, Since U Been Gone 50 Cent feat. Olivia, Candy Shop Green Day, Boulevard Of Broken Dreams R. Kelly, Trapped In The Closet Audioslave, Be Yourself Rob Thomas, This Is How A Heart Breaks Fantasia, Baby Mama | Lifehouse, You And Me Natalie, Goin' Crazy Trace Adkins, Songs About Me Mannie Fresh, Real Big The Killers, Mr. Brightside Destiny's Child, Cater 2 U Teena Marie feat. Gerald Levert, A Rose By Any Other Name Maroon 5, She Will Be Loved Missy Elliott feat. Ciara & Fat Man Scoop, Lose Control Lloyd Banks feat. Avant, Karma Melissa Etheridge & Joss Stone, Cry Baby/Piece Of My Heart Foo Fighters, DOA T.I., U Don't Know Me |
| 2006 | Taking Back Sunday, MakeDamnSure Pitbull, Ay Chico (Lengua Afuera) Taylor Hicks, Takin' It To The Streets Sheryl Crow & Sting, Always On Your Side Busta Rhymes, Touch It Snow Patrol, Chasing Cars Rihanna, SOS Brad Paisley, She's Everything Jamie Foxx feat. Twista, DJ Play A Love Song Kelly Clarkson, Because Of You Lyfe Jennings, S.E.X. Fergie, London Bridge Ludacris & Field Mob feat. Jamie Foxx, Georgia The Fray, How To Save A Life 50 Cent, Window Shopper Steve Holy, Brand New Girlfriend | Beyonce, Ring The Alarm Angels & Airwaves, The Adventure Keith Urban, Tonight I Wanna Cry The Black Eyed Peas, My Humps Rodney Atkins, If You're Going Through Hell (Before The Devil Even Knows) Ne-Yo, Sexy Love P.O.D., Goodbye For Now Rihanna, Unfaithful Little Big Town, Boondocks Three Days Grace, Animal I Have Become OutKast, Idlewild Blue (Don'tchu Worry 'Bout Me) Red Hot Chili Peppers, Snow ((Hey Oh)) Bow Wow feat. J-Kwon & Jermaine Dupri, Fresh Azimiz |
| 2007 | Alan Jackson, A Woman's Love T.I., Top Back Blake Lewis, You Give Love A Bad Name Daughtry, Home Trace Adkins, Ladies Love Country Boys Keyshia Cole feat. Missy Elliott & Lil Kim, Let It Go Kelly Rowland feat. Eve, Like This Lifehouse, First Time Avril Lavigne, Keep Holding On Luke Bryan, All My Friends Say Jonas Brothers, Hold On JAY-Z, Roc Boys (And The Winner Is)… | Hinder, Better Than Me Timbaland feat. Keri Hilson, The Way I Are Playaz Circle feat. Lil Wayne, Duffle Bag Boy Miranda Lambert, Famous In A Small Town Kenny Chesney, Beer In Mexico Britney Spears, Gimme More Seether, Fake It Keith Urban, I Told You So Bow Wow & Omarion, Girlfriend Hannah Montana, Nobody's Perfect Ne-Yo, Do You Regina Spektor, Fidelity |
| 2008 | Buckcherry, Sorry DJ Khaled feat. T-Pain, Trick Daddy, Rick Ross & Plies, I'm So Hood Feist, 1234 Finger Eleven, Paralyzer Josh Gracin, We Weren't Crazy Shontelle, T-Shirt Coldplay, Violet Hill Yung Berg feat. Casha, The Business Luke Bryan, Country Man Pitbull feat. Lil Jon, Krazy Shwayze feat. Cisco Adler, Buzzin' | Madonna feat. Justin Timberlake & Timbaland, 4 Minutes Phil Vassar, Love Is A Beautiful Thing Carrie Underwood, Last Name Blake Shelton, Home Sara Bareilles, Love Song Britney Spears, Womanizer Alicia Keys, No One Katy Perry, I Kissed A Girl Jesse McCartney, Leavin' Saving Abel, Addicted |
| 2009 | Toby Keith, God Love Her Katy Perry, Waking Up In Vegas Jesse McCartney feat. Ludacris, How Do You Sleep? The Black Eyed Peas, Boom Boom Pow T.I. feat. Justin Timberlake, Dead And Gone F.L.Y. (Fast Life Yungstaz), Swag Surfin' Brad Paisley Duet With Keith Urban, Start A Band The Fray, Never Say Never Miranda Cosgrove, About You Now New Boyz, You're A Jerk Flo Rida, Right Round Kanye West, Heartless Taylor Swift, You're Not Sorry Kings Of Leon, Sex On Fire Miranda Lambert, White Liar Drake feat. Trey Songz & Lil Wayne, Successful Kenny Chesney With Dave Matthews, I'm Alive | John Mayer, Who Says Lady Gaga, Poker Face Mims, Move (If You 'W'anna) Pitbull, I Know You Want Me (Calle Ocho) Beyonce, Ego The Veronicas, Take Me On The Floor Jay Sean feat. Lil Wayne, Down Keri Hilson feat. Kanye West & Ne-Yo, Knock You Down The Offspring, You're Gonna Go Far, Kid Jamie Foxx feat. T-Pain, Blame It Rascal Flatts, Things That Matter The Black Eyed Peas, I Gotta Feeling The All-American Rejects, Gives You Hell Toby Keith, Lost You Anyway The Veronicas, Untouched |
| 2010 | Gucci Mane feat. Usher, Spotlight Little Big Town, Little White Church George Strait, The Breath You Take Lloyd, Lay It Down 3OH!3, Deja Vu Drake, Find Your Love Bruno Mars, Just The Way You Are Ciara feat. Ludacris, Ride Jack Johnson, You And Your Heart Luke Bryan, Someone Else Calling You Baby Kanye West, All Of The Lights Justin Bieber feat. Usher, Somebody To Love Kris Allen, Live Like We're Dying | Jay Sean feat. Sean Paul & Lil Jon, Do You Remember Lady Antebellum, Hello World Jaron And The Long Road To Love, Pray For You Jay-Z + Mr. Hudson, Young Forever Brad Paisley, Anything Like Me P!nk, Glitter In The Air Zac Brown Band, Highway 20 Ride Ludacris, How Low Sean Kingston & Justin Bieber, Eenie Meenie Lady Gaga, Bad Romance Taio Cruz, Dynamite Carrie Underwood, Undo It |
| 2011 | Yolanda Be Cool & Dcup, We No Speak Americano Nickelback, When We Stand Together Brantley Gilbert, Country Must Be Country Wide Ke$ha, Blow Chris Young, Tomorrow Miranda Lambert, Baggage Claim Justin Bieber, Born To Be Somebody Sunny Sweeney, From A Table Away Jason Aldean, Dirt Road Anthem Toby Keith, Made In America Katy Perry, Firework Far*East Movement feat. Ryan Tedder, Rocketeer Red Hot Chili Peppers, The Adventures Of Rain Dance Maggie Flo Rida feat. David Guetta, Club Can't Handle Me Britney Spears, I Wanna Go Pitbull feat. Ne-Yo, Afrojack & Nayer, Give Me Everything | Enrique Iglesias feat. Pitbull, I Like It P!nk, Raise Your Glass Bridgit Mendler, Somebody Justin Bieber feat. Jaden Smith, Never Say Never Britney Spears feat. Nicki Minaj & Ke$ha, Till The World Ends New Boyz feat. The Cataracs & Dev, Backseat Taylor Swift, Mean OneRepublic, Good Life The Band Perry, All Your Life Ricky Martin feat. Natalia Jimenez, Lo Mejor De Mi Vida Eres Tu Victorious Cast feat. Victoria Justice, Beggin' On Your Knees Flo Rida feat. Akon, Who Dat Girl |
| 2012 | Ellie Goulding, Lights Calvin Harris feat. Florence Welch, Sweet Nothing Miranda Lambert, Over You Kip Moore, Somethin' 'Bout A Truck The Black Keys, Gold On The Ceiling Kanye West, Big Sean, Pusha T, 2 Chainz, Mercy One Direction, Live While We're Young Kendrick Lamar, Swimming Pools (Drank) Pitbull feat. Chris Brown, International Love Brandy feat. Chris Brown, Put It Down LMFAO feat. Lauren Bennett & GoonRock, Party Rock Anthem Nicki Minaj, Starships | Carly Rae Jepsen, This Kiss Justin Bieber feat. Nicki Minaj, Beauty And A Beat Jennifer Lopez feat. Pitbull, Dance Again Gym Class Heroes feat. Ryan Tedder, The Fighter Taylor Swift, Begin Again Rita Ora, How We Do (Party) Taylor Swift feat. The Civil Wars, Safe & Sound Maroon 5, One More Night Nicki Minaj feat. Chris Brown, Right By My Side Rick Ross feat. Wale & Drake, Diced Pineapples Zac Brown Band, Goodbye In Her Eyes 2 Chainz feat. Drake, No Lie Adele, Set Fire To The Rain |
| 2013 | Rich Homie Quan, Type Of Way Macklemore & Ryan Lewis feat. Ray Dalton, Can't Hold Us Calvin Harris feat. Ellie Goulding, I Need Your Love PSY, Gangnam Style Katy Perry, Roar A$AP Rocky feat. Skrillex, Wild For The Night DJ Khaled feat. Drake, Rick Ross & Lil Wayne, No New Friends (SFTB Remix) Hadouken!, Levitate Phillip Phillips, Home Rihanna feat. Mikky Ekko, Stay Big Sean feat. Lil Wayne & Jhene Aiko, Beware Gavin DeGraw, Best I Ever Had Eric Church, Like Jesus Does Robin Thicke feat. Kendrick Lamar, Give It 2 U Sage The Gemini feat. IamSu!, Gas Pedal | Sevyn Streeter feat. Chris Brown, It Won't Stop The Band Perry, Better Dig Two Lupe Fiasco & Guy Sebastian, Battle Scars Anna Kendrick, Cups (Pitch Perfect's When I'm Gone) Darius Rucker, Wagon Wheel Imagine Dragons, Radioactive Lee Brice, Parking Lot Party Miguel, How Many Drinks? Lady Gaga, Applause fun., Carry On Drake feat. 2 Chainz & Big Sean, All Me Justin Timberlake, Mirrors J. Dash, Wop Justin Bieber feat. Ludacris, All Around The World Lee Brice, I Drive Your Truck The Lumineers, Ho Hey |
| 2014 | Chase Rice, Ready Set Roll Sia, Chandelier Lorde, Glory And Gore John Legend, All Of Me Justin Moore, Lettin' The Night Roll DJ Snake & Lil Jon, Turn Down For What Fall Out Boy, Centuries Passenger, Let Her Go Tegan And Sara feat. The Lonely Island, Everything Is AWESOME!!! Fifth Harmony, Bo$$ Lee Brice, Drinking Class Kristen Bell & Idina Menzel, For The First Time In Forever Lady Antebellum, Bartender Zendaya, Replay | Calvin Harris, Summer Ariana Grande feat. Iggy Azalea, Problem Pentatonix, Mary, Did You Know? Demi Lovato, Let It Go Vance Joy, Riptide Ed Sheeran, Thinking Out Loud Taylor Swift, Shake It Off Michael Jackson & Justin Timberlake, Love Never Felt So Good Tove Lo, Habits (Stay High) Beyonce, Partition Katy Perry feat. Juicy J, Dark Horse Brett Eldredge, Beat Of The Music Ed Sheeran, Sing Brantley Gilbert, Bottoms Up Kid Ink feat. Chris Brown, Show Me |
| 2015 | Jessie J, Ariana Grande & Nicki Minaj, Bang Bang Imagine Dragons, I Bet My Life Dierks Bentley, Say You Do Sia, Elastic Heart Fetty Wap, Again Empire Cast feat. Estelle & Jussie Smollett, Conqueror Flo Rida fest. Sage The Gemini & Lookas, G.D.F.R. twenty one pilots, Fairly Local One Direction, Drag Me Down Hozier, Take Me To Church | Wale feat. Usher, The Matrimony Fifth Harmony, Sledgehammer Pitbull feat. Chris Brown, Fun Carrie Underwood, Something In The Water Ariana Grande, Santa Tell Me Maroon 5, Animals Eric Church, Talladega Cam, Burning House Tory Lanez, Say It Rachel Platten, Fight Song |
| 2016 | Tucker Beathard, Rock On Ruth B, Lost Boy Grace feat. G-Eazy, You Don't Own Me Chris Young Duet With Cassadee Pope, Think Of You MadeinTYO, Uber Everywhere DJ ESCO feat. Future & Lil Uzi Vert, Too Much Sauce Brett Young, Sleep Without You The Chainsmokers feat. Daya, Don't Let Me Down Rob $tone feat. J. Davi$ & Spooks, Chill Bill Cole Swindell, You Should Be Here DJ Drama feat. Chris Brown, Skeme & Lyquin, Wishing Beyonce, Hold Up twenty one pilots, Ride | Jason Derulo, Get Ugly DJ Khaled feat. Jay Z & Future, I Got The Keys Jeremih, Oui Coldplay, Hymn For The Weekend Sundance Head, Darlin' Don't Go Tim McGraw, Humble And Kind Calvin Harris, My Way Kent Jones, Don't Mind Alessia Cara, Wild Things Young M.A, OOOUUU Maren Morris, My Church Justin Bieber, Love Yourself Prince, 1999 Disturbed, The Sound Of Silence Rihanna, Needed Me |
| 2017 | Post Malone feat. 21 Savage, Rockstar 21 Savage & Metro Boomin, No Heart Enrique Iglesias feat. Descemer Bueno, Zion & Lennox Or Sean Paul, Subeme La Radio Marshmello, Alone Quavo, Takeoff & Offset, Too Hotty Maren Morris, I Could Use A Love Song The Chainsmokers & Coldplay, Something Just Like This James Arthur, Say You Won't Let Go Starley, Call On Me Gucci Mane feat. The Weeknd, Curve John Legend, Love Me Now Bruno Mars, That's What I Like | Halsey, Now Or Never Jason Aldean, They Don't Know Shawn Mendes, There's Nothing Holdin' Me Back The Weeknd, Party Monster The Chainsmokers, Paris Chris Brown, Questions Niall Horan, Slow Hands Major Lazer feat. Justin Bieber & MO, Cold Water Kendrick Lamar feat. Zacari, Love. Kenny Chesney, All The Pretty Girls Maluma, Felices Los 4 Bebe Rexha, I Got You Halsey, Bad At Love |
| 2018 | Scotty McCreery, Five More Minutes Shawn Mendes, In My Blood Juice WRLD, Lean Wit Me Post Malone, I Fall Apart Rae Sremmurd & Juicy J, Powerglide French Montana feat. Drake, No Stylist Drake, Blue Tint Keala Settle & The Greatest Showman Ensemble, This Is Me Luke Combs, One Number Away Charlie Puth, How Long Sam Smith, Too Good At Goodbyes J. Cole, Intro Demi Lovato, Tell Me You Love Me | Lil Uzi Vert feat. Nicki Minaj, The Way Life Goes 6ix9ine feat. Nicki Minaj & Murda Beatz, FEFE Weezer, Africa Mariah Carey, All I Want For Christmas Is You Lil Dicky feat. Chris Brown, Freaky Friday Drake, In My Feelings XXXTENTACION, Changes Ariana Grande, No Tears Left To Cry Nicki Minaj feat. Ariana Grande, Bed Plies, Rock XXXTENTACION, Sad! Daddy Yankee, Dura Drake, I'm Upset Chris Young, Losing Sleep |
| 2019 | Megan Thee Stallion feat. DaBaby, Cash Shit Post Malone, Wow. NLE Choppa, Shotta Flow Cardi B & Bruno Mars, Please Me Dove Cameron, Sofia Carson, Booboo Stewart, Cameron Boyce, Thomas Doherty, China Anne McClain & Dylan Playfair, Night Falls Jonas Brothers, Cool Post Malone & Swae Lee, Sunflower (Spider-Man: Into The Spider-Verse) 21 Savage, A Lot NF, Time Morgan Wallen, Whiskey Glasses Lizzo, Truth Hurts Internet Money, Lil Tecca & A Boogie Wit da Hoodie, Somebody Eli Young Band, Love Ain't | benny blanco & Juice WRLD feat. Brendon Urie, Roses Sheck Wes, Mo Bamba DaBaby & Nicki Minaj, iPHONE Halsey, Without Me Sam Smith & Normani, Dancing With A Stranger Lil Nas X, Panini Shawn Mendes, If I Can't Have You Ariana Grande, Miley Cyrus & Lana Del Rey, Don't Call Me Angel (Charlie's Angels) Kodak Black, Calling My Spirit DJ Khaled feat. SZA, Just Us Cardi B, Bad Bunny & J Balvin, I Like It Billie Eilish, Wish You Were Gay Post Malone feat. Meek Mill & Lil Baby, On The Road |
| 2020 | Lil Yachty, Drake & DaBaby, Oprah's Bank Account Rod Wave, Girl Of My Dreams Luke Combs feat. Eric Church, Does To Me Gunna, Feigning Luke Combs, Lovin' On You Jack Harlow feat. DaBaby, Tory Lanez & Lil Wayne, Whats Poppin Taylor Swift, Mirrorball Moneybagg Yo, Said Sum Roddy Ricch, The Box Lil Mosey, Blueberry Faygo Miley Cyrus, Midnight Sky | The Weeknd, In Your Eyes Marshmello & Halsey, Be Kind Pop Smoke, Dior Lil Baby feat. Lil Uzi Vert, Commercial twenty one pilots, Level Of Concern Doja Cat feat. Nicki Minaj, Say So Billie Eilish, Everything I Wanted Eminem feat. Juice WRLD, Godzilla Sada Baby, Whole Lotta Choppas Lewis Capaldi, Someone You Loved Kane Brown, Homesick |
