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.


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.


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.


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.


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:

  1. Will have a smaller (rolling) melodic range
  2. Will have a greater overall proportion of repetition
  3. Will have a greater proportion of small melodic intervals
  4. Will show a less diverse distribution of rhythms
  5. 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.


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.


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.

Table 1: Logistic regression results
Variables Df Deviance Resid.
Rhythmic Diversity10.53489589.35.47
Proportion of Long Durations10.24488589.12.63
Step Motion13.14487585.98.08
Range:Rhythmic Diversity12.08485381.01.15
Range:Proportion of Long Durations10.15484380.86.70
Rhythmic Diversity:Proportion of Long Durations11.32483379.54.25
Rhythmic Diversity:Step Motion111.95481366.17.00***
Long Durations:Step Motion13.33480362.84.07
Rhythmic Diversity: Repetition113.34478344.11.00***
Long Durations: Repetition15.00477339.10.03*
Range:Rhythmic Diversity:Long Durations10.28475338.44.60
Range:RhythmicDiversity:Step Motion10.31474338.13.58
Range:Long Durations:Step Motion11.35473336.78.25
Rhythmic Diversity:Long Durations:Motion12.44472334.34.12
Range:Rhythmic Diversity:Repetition10.74471333.60.39
Range:Long Durations:Repetition12.42470331.18.12
Rhythmic Diversity:Long Durations:Repetition12.88469328.30.09
Range:Step Motion:Repetition12.22468326.080.14
Rhythmic Diversity:Step Motion:Repetition11.53467324.550.22
Long Durations:Step Motion:Repetition10.59466323.960.44
Range:Rhythmic Diversity:Long Durations:Step Motion10.64465323.320.42
Range:Rhythmic Diversity:Long Durations:Repetition10.69464322.640.41
Range:Rhythmic Diversity:Step Motion:Repetition12.87463319.770.09
Range:Long Durations:Step Motion:Repetition12.03462317.740.15
Rhythmic Diversity:Long Durations:Step Motion:Repetition10.00461317.741.00
Range:Rhythmic Diversity:Long Durations:Step Motion:Repetition10.02460317.730.89

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).

Two charts showing Repetition as Measured by Data Compression and Rolling Average Song Range, respectively. More description below.

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).

Four graphs: Rhythmic Diversity - Small Melodic Intervals Correlations by Era, Range-Repetition Correlation by Era, Rhythmic Diversity - Repetition Correlation by Era, and LongDuration-Repetition Correlation by Era. More description below.

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.


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.

Two graphs: Repetition by Song by Year and Range by Song by Year. More description below.
Two graphs: Rhythmic Diversity by Song by Year and Proportion of LongDuration by Song by Year. More description below.
One graphs: Small Melodic Intervals by Song by Year. More description below.

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."


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.


This article was copyedited by Matthew Moore and layout edited by Diana Kayser.


  1. 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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  2. See: https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops-Billboard
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  3. See: http://rockcorpus.midside.com/
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  4. 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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Evaluation of Automated Melody Transcription


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.

Double bar graph showing Pitch Class Counts vs Melodic Transcriptions. More description below.

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.

Two graphs showing transcription scores. More description below.

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.


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):

Table B1 . History of the changes to the Hot 100
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.


Complete List of Songs in the Corpus by Year

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
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
Ariana Grande, No Tears Left To Cry
Nicki Minaj feat. Ariana Grande, Bed
Plies, Rock
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
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