Big swings define this month’s vintage charts, with Stephanie Mills blasting to number one in new jack swing and Talking Heads overturning The Smiths in alternative classics.
Fleetwood Mac slip a glossy “Little Lies” into the yacht-rock ranks, while Goo Goo Dolls and Tom Browne ignite fresh energy with sharp debuts in post-grunge and post-disco.
Oasis flood Britpop’s mid-table with renewed force, and Loyle Carner’s appearance in R&B adds an unexpected turn.
These moves only hint at the deeper shake-ups waiting inside the full Top 20 lists.
Here is the Nov 30,2025 edition
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Big Beat
Death In Vegas keep “Aisha” locked at the summit for a second month, anchoring a top three that stays completely immobile as Armand Van Helden’s “My My My” and Fatboy Slim’s “Star 69” hold their ground with unbothered confidence.
Underworld’s “Jumbo” likewise preserves its long-running grip on fourth place, reinforcing a chart whose upper tier seems intent on freezing itself in amber.
The first real movement arrives just below, where Death In Vegas reshuffle their own pack as “Scorpio Rising” edges up to fifth and pushes “Hands Around My Throat” back to seventh, a neat inversion of last month’s configuration.
Groove Armada’s “I See You Baby” stands firm at six, serving as the pivot around which those internal Death In Vegas dynamics shift.
Malcolm McLaren’s “Deep in Vogue” glides in at eight as the month’s lone debut, cutting through an otherwise tightly held top ten and nudging Armand Van Helden’s “I Want Your Soul” down a spot.
Apollo 440’s “Lost in Space” and Utah Saints’ “What Can You Do For Me” hold steady just outside the top ten, mirroring the chart’s broader reluctance to budge.
Basement Jaxx dip slightly as “Where’s Your Head At” eases to thirteen, while Leftfield turn a quiet gain by lifting “Afro Left” into the mid-table.
The lower ranks remain largely preserved, the notable exception being The KLF, who reorder their trio of legacy tracks without losing any of them, allowing “Justified & Ancient” and “America: What Time Is Love?” to trade places as “Last Train to Trancentral” slips but stays in the frame.
William Orbit closes the month again as “Barber’s Adagio for Strings” keeps twentieth place, the endpoint of a chart revealing more subtle contouring than outright upheaval.
2000s Garage Rock
The top seven in the garage-rock list return unchanged, with The White Stripes’ “I Just Don’t Know What To Do With Myself” still unmoved at number one and Babyshambles and The Raconteurs once again shadowing in close pursuit.
The Hives’ “Hate To Say I Told You So” and Jet’s “Are You Gonna Be My Girl” lock down fourth and fifth, reinforcing a hierarchy that now feels almost ceremonial in its stability.
Black Rebel Motorcycle Club maintain their pairing at six and twelve, lending the chart a sense of déjà vu that suits their brooding aesthetic.
The 5.6.7.8’s hold onto seventh while The White Stripes’ “Seven Nation Army” climbs one position to eighth, reclaiming a foothold in the upper bracket.
Electric Six and The Hives simply switch places in the lower top ten, with “Danger! High Voltage” sliding to nine and “Main Offender” rising to ten.
Yeah Yeah Yeahs find fresh traction as “Heads Will Roll” takes eleven and “Maps” moves up to fifteen, their two tracks subtly realigning without disrupting the chart’s broader order.
The remainder of the list stays almost eerily static, with The Strokes, The Raconteurs, Wolfmother, and Arctic Monkeys all preserving their positions in a month where virtually no one cedes ground.
Britpop
Britpop’s upper crust performs a near-perfect repeat as The Stone Roses, Oasis, and Saint Etienne again occupy the top three, preserving October’s hierarchy as if chiselled into the decade’s memory.
Cast hold fourth while Black Box Recorder’s “Child Psychology” climbs to fifth, completing a delicate reshuffle that pushes Oasis’ “Roll With It” to six without diminishing its long-term presence.
Cast’s “Walkaway” slips to seven but remains comfortably in the upper echelon, keeping company with James and Lush who each mirror last month’s placements.
EMF and Utah Saints again stabilise the mid-chart, where the pacing feels familiar yet intentionally measured.
Shed Seven’s “Going For Gold” edges down as Oasis return to prominence mid-table with “Stand By Me” rising sharply to fourteen, beginning a cluster of Oasis tracks reclaiming turf.
Edwyn Collins’ “A Girl Like You” shifts down to fifteen while “Live Forever” lifts to sixteen, amplifying the band’s late-month resurgence.
Catalonia arrive as the month’s lone debut as “Mulder and Scully” enters at seventeen, briefly breaking the hold of long-established staples.
Oasis deepen their presence with “Cigarettes & Alcohol” re-entering at eighteen, laying down a reminder of their catalogue’s persistent gravitational pull.
Happy Mondays’ “Step On” keeps its foothold at nineteen, and Cast close out the month by sliding “Sandstorm” into twentieth, maintaining their long-standing visibility across the list.
90s Sophisti-Pop
Chris Rea claims the sophisti-pop summit as “Auberge” rises from fourth to first, dislodging Molella and reshaping a top three that had been running on muscle memory.
Molella’s “With This Ring Let Me Go” moves to second but remains firmly in contention alongside Sade’s unwavering “Kiss of Life,” which stays anchored in third.
Sting’s trio of ballads shuffle gracefully as “Mad About You” settles at four, “Shape of My Heart” maintains sixth place, and “The Soul Cages” holds seventh with characteristic steadiness.
Everything But The Girl continue their slow-moving drift as “Missing” slips to five while “Rollercoaster” keeps its mid-table presence intact.
M People and Simply Red remain nearly static, with “Don’t Look Any Further” and “Thrill Me” preserving their positions as if immune to surrounding movement.
Basia’s “Drunk on Love” gains modest lift to twelve, nudging The Beautiful South down as their two entries invert positions across the mid-teens.
Chris Rea adds further momentum with “Girl in a Sports Car” climbing to fourteen, underscoring his increasingly dominant month.
Aztec Camera and Prefab Sprout occupy the final two rungs unchanged, bookending a chart defined more by subtle turns than by dramatic shifts.
2010s R&B
Kendrick Lamar’s “All The Stars” extends its reign atop the R&B listing, securing another month where neither Jorja Smith nor A$AP Rocky can meaningfully challenge its lead.
Nafe Smallz and Enrique Iglesias return in their familiar fourth and fifth positions, maintaining a top five that moves with deliberate slowness.
Summer Walker stays steady at six as Toni Braxton’s “Yesterday” climbs to seven, gently rewriting the chart’s centre of gravity.
Nick Jonas and Khalid hold their ground in eighth and ninth, while The Weeknd’s “Try Me” pushes into tenth to rearrange the lower edge of the upper bracket.
Alessia Cara and Chris Brown swap positions without disturbing the flow, forming a mid-chart corridor that feels almost suspended in place.
Beyoncé and Chris Brown’s additional entries remain locked into their long-running placements, reinforcing the month’s sense of measured continuity.
The most striking arrival comes at eighteen, where Loyle Carner’s “Ottolenghi” debuts and injects a moment of quiet introspection into a chart otherwise steeped in rhythmic consistency.
The month rounds out with Ella Mai and Kehlani holding their late-chart stations, closing a ranking that tweaks its texture without altering its core identity.
Neo-Mellow
Gary Jules keeps “Mad World” rooted at number one as the neo-mellow chart’s entire upper tier mirrors October with an almost meditative steadiness.
Jason Mraz and Keane again complete the top three, and Keane’s second entry “Somewhere Only We Know” remains fixed in fourth, preserving a front-loaded calm that resists any real intrusion.
Jack Johnson’s “Sitting Waiting Wishing” stays parked at five, while Michelle Branch lightly reorders her pairing as “All You Wanted” rises to six and nudges “Everywhere” to seven.
Dido’s “Thank You” slides to nine as Five for Fighting’s “Superman” gains altitude to eighth, a modest exchange that subtly brightens the mid-chart.
KT Tunstall and Craig David hold their long-running positions, anchoring the chart’s centre with familiar composure.
Paolo Nutini drifts down to twelve after losing the buoyancy that kept “New Shoes” in the top ten, while David Gray inverses his October positions as “Sail Away” lifts to thirteen and “The One I Love” moves to eighteen.
Dido’s “White Flag” also drops one rung, completing a gentle mid-table reshuffle without unsettling the chart’s underlying softness.
James Blunt rises to fifteen as “You’re Beautiful” regains some shine, leaving Santana’s “The Game of Love” and Vanessa Carlton’s “A Thousand Miles” each to slip a place.
Keane’s “Crystal Ball” and The Calling’s “Wherever You Will Go” close out an unhurried bottom tier, their positions unchanged as the chart ends in the same reflective glow it began with.
P0st-Disco
Post-disco’s hierarchy experiences a sharp inversion at the summit as Slave’s “Just a Touch of Love” overtakes Shalamar’s long-time leader “Make That Move,” trading second for first with decisive smoothness.
Imagination stay firmly at three as The S.O.S. Band shift “Just the Way You Like It” into fourth, tightening their grip on the upper bracket while Club Nouveau retain a steady fifth.
Patrice Rushen dips to six, making space for Roger Troutman to hover just behind in seventh, continuing the chart’s lineage of slow-rolling funk.
Evelyn “Champagne” King settles at eight as Alexander O’Neal and The Whispers each rise a place, their late-chart warmth subtly rebalancing the mid-range.
Shalamar’s “Over and Over” slips to eleven, though the surrounding titles remain largely intact as Incognito, Level 42, and Dynasty hold their ground in a neat vertical progression.
Ashford’s “Solid” lifts into the mid-teens while Marky Mark and Zapp replicate last month’s positions with faintly re-ordered symmetry.
Evelyn “Champagne” King reappears at eighteen as “Love Come Down” steadies itself near the base, but the month’s real intrusion is Tom Browne’s “Funkin’ for Jamaica,” debuting at nineteen to inject a welcome jolt of jazz-funk colour.
Shalamar complete the reshuffle as “Take That to the Bank” returns at twenty, closing a chart that balances new arrivals with a firm respect for its classics.
Yacht Rock
Yacht rock’s top three float through the month unchanged as Neil Diamond’s “Hello Again,” George Benson’s “In Your Eyes,” and Chicago’s “Hard to Say I’m Sorry” repeat their calm, lacquered formation.
Michael McDonald nudges ahead to fourth, pushing the Eagles to five and introducing the chart’s only shift of real significance in the upper tier.
Don Henley and Chicago continue to bracket the middle of the top ten in their usual alignment, with George Benson’s “Give Me the Night” and Chicago’s “Hard Habit to Break” keeping the groove as smooth as ever.
Fleetwood Mac’s “Everywhere” stays rooted at ten while Billy Ocean again secures eleventh, marking a top half that feels precision-polished rather than static.
James Ingram rises to twelve, trading places with Eric Carmen, while Fleetwood Mac’s “The Chain” steps up to thirteen with a veteran’s poise.
Eric Carmen’s “Hungry Eyes” shifts down to fourteen as Kenny Loggins, Billy Ocean, and Daryl Hall each slide a notch to make room for the month’s one debut.
Fleetwood Mac’s “Little Lies” enters at seventeen with its glossy late-’80s sheen, subtly widening the band’s footprint in the lower chart.
Patrick Swayze holds nineteen while Chicago close out the month at twenty, completing a chart shaped more by gentle repositioning than true upheaval.
Diva House
Diva house sees CeCe Peniston maintain her reign as “Keep On Walkin’” holds first place with unbroken authority.
La Bouche surge to second as “Sweet Dreams” rises sharply and nudges Urban Cookie Collective to third, energising the chart’s upper floor.
Cappella’s “Move It Up” climbs into fourth, displacing Corona’s club staple “The Rhythm of the Night” to fifth in a rare realignment of top-tier mainstays.
Steps drop to six while Rozalla preserves seventh, maintaining continuity across the mid-upper range even as the surrounding tracks shuffle slightly.
Whigfield holds eighth with “Close to You,” followed by La Bouche’s “Be My Lover,” which remains comfortably anchored at nine.
Incognito complete the top ten with “Always There,” unchanged but now framed by modest shifts on either side.
Whigfield and Marky Mark endure small dips as “Sexy Eyes” and “Good Vibrations” slide a rung, opening space for Cappella’s “U Got 2 Let the Music” to rise.
SNAP! also slip to fourteen as D_Mob’s and West End’s entries lock into mid-chart poise with familiar assurance.
Captain Hollywood Project climbs to seventeen, overtaking Crystal Waters, whose “Gypsy Woman” continues its graceful descent.
Lonnie Gordon and Alex Party mirror last month’s closing positions, concluding a chart where upward motion concentrates lightly at the top.
Vintage Power Pop
Blondie secure their second month at number one as “The Tide Is High” holds firm atop the vintage power-pop ranking with effortlessly breezy authority.
Squeeze rise to second as “Tempted” mounts a confident climb, displacing XTC’s long-standing “Mayor of Simpleton” to fifth.
Nada Surf’s “Inside of Love” keeps its grip on third while Cheap Trick stay settled at fourth, balancing the chart’s upper tier with a mix of upward movement and faithful holdovers.
Todd Rundgren and XTC’s “Generals and Majors” replicate their positions from last month, reinforcing the chart’s central axis with unshaken continuity.
The Knack and Ash maintain their respective placements at eight and nine as Blondie’s “Atomic” continues its unbroken run at ten.
Weezer, Teenage Fanclub, Dinosaur Jr., and The Outfield all follow suit with lightly rearranged positioning, their cluster shifting just enough to feel responsive without suggesting broader volatility.
XTC’s “Dear God” rises to sixteen, trading places with “Senses Working Overtime,” which dips to seventeen in a gentle reset of the band’s internal ordering.
The Cars’ “Tonight She Comes” and World Party each preserve their existing footing as the chart reaches its lower rungs unchanged.
Dinosaur Jr. close out the month with “Feel the Pain” still at twenty, ending a chart that weighs subtle changes against long-term loyalties.
Eurodance
Culture Beat extend their eurodance dominance as “Anything” and “Crying in the Rain” repeat at one and two, keeping Dr. Alban’s impervious “It’s My Life” fixed in third and cementing a top trio that refuses to shift an inch.
Strike’s “U Sure Do” and ATC’s “All Around the World” reprise their placements as the chart’s most stable mid-high fixtures, with U96’s “Club Bizarre” and Culture Beat’s “Take Me Away” completing an upper tier that behaves like a sealed system.
Daze maintain eighth while Groove Coverage’s “Moonlight Shadow” climbs to ninth, overtaking Dr. Alban’s “Away From Home,” which slips to tenth but remains comfortably in the fold.
The Outhere Brothers and Scooter hold their ground at eleven and twelve, though the order beneath them begins to subtly reshuffle as Ice MC rises to thirteen with “Think About the Way.”
Miss Jane likewise nudges upward as “It’s a Fine Day” takes fourteen, prompting Scooter’s “Fire” to dip to fifteen, a gentle inversion that barely disturbs the chart’s pacing.
La Bouche slip a single rung as “Sweet Dreams” lands at sixteen, and Urban Cookie Collective follow suit by easing back to seventeen after yielding space to new entrants.
Cappella’s “Move It Up” debuts at eighteen, injecting the month’s brightest spark of fresh dance-floor momentum.
Corona’s evergreen “The Rhythm of the Night” steadies at nineteen, while 20 Fingers’ unabashed “Lick It” arrives at twenty to close the chart with a burst of provocation and peak-’90s brashness.
Heartland Rock
Heartland rock’s crown remains unchanged as Neil Diamond keeps “Hello Again” at number one, its soft grandeur continuing to eclipse all challengers.
Bryan Adams ascends to second with “Here I Am,” displacing Bob Seger’s “Hollywood Nights” to third in the chart’s most significant shift up top.
Cheap Trick preserve their foothold at four, while Foreigner’s “I Don’t Want to Live Without You” leaps into fifth, tightening Bryan Adams’ cluster of entries in the upper ranks.
Adams’ “Have You Ever Really Loved a Woman?” settles into sixth as Bob Seger’s “Night Moves” follows at seven, each maintaining steady trajectories.
The Eagles rise to eight with “Hole in the World,” nudging Don Henley and Bryan Adams one slot each and subtly reconfiguring the chart’s centre.
Foreigner’s “I Want to Know What Love Is” remains at eleven, anchoring the midpoint before Steve Miller Band’s “Abracadabra” climbs into twelfth.
The Black Crowes and Foreigner’s “Say You Will” both hold firm while Lindsey Buckingham’s “Trouble” dips modestly to fifteen.
Todd Rundgren, Foreigner’s “Urgent,” and America each maintain positions that reflect soft but deliberate rebalancing in the lower chart.
Little Steven and Bonnie Raitt tightly replicate their October ranking, rounding out a month defined less by volatility than by incremental, story-friendly adjustments.
New Jack Swing
New jack swing sees its first major upheaval in months as Stephanie Mills surges from fourth to first with “Never Knew Love Like This Before,” ending Shalamar’s reign and reshaping the chart’s entire front line.
Jodeci’s “Cry for You” holds steady in second, keeping Atlantic Starr in third while Shalamar slip to fourth in the wake of Mills’ ascent.
Tevin Campbell remains secure at five as The S.O.S. Band’s “Just the Way You Like It” edges into sixth, shifting Club Nouveau and Roger Troutman each down one place.
Bell Biv DeVoe fall to ninth as BDP’s “Self Destruction” takes advantage of the mid-chart reshuffle to rise into the top ten.
Wreckx-N-Effect, Color Me Badd, and The Whispers settle into slightly altered alignments, each moving just enough to suggest renewed competition without disrupting the chart’s core.
SWV and Zapp track minor declines while Ready for the World hold firm at seventeen, maintaining their late-chart profile.
Dionne Warwick remains in eighteenth as Force MD’s “Love Is a House” debuts at nineteen, adding a classic late-’80s shimmer to the month’s final stretch.
Shalamar close the chart at twenty with “Take That to the Bank,” their enduring presence intact even as their top-tier dominance briefly fades.
Post-Grunge
Candlebox retain their post-grunge stronghold as “Far Behind” continues its run at number one, with Limp Bizkit and Counting Crows again occupying the next two slots to keep the top unchanged.
Taproot climb to fourth, displacing Matchbox Twenty to sixth and signalling one of the month’s sharper upper-table adjustments.
Live maintain fifth while Paul Oakenfold rises to seventh, prompting The Used to slip to eighth but preserving the chart’s overall balance of rock grit and crossover sheen.
Chris Cornell’s shadowy take on “Billie Jean” moves up to ninth, switching places with Faith No More’s “Digging the Grave,” which continues to exert its own punch from tenth.
Spacehog, Better Than Ezra, and Third Eye Blind track minimal realignment, with “Semi-Charmed Life” holding a steady course at thirteen.
Nickelback’s “How You Remind Me” remains fixed at fourteen as Linkin Park’s “Points of Authority” settles just below, contributing to a centre that feels recently stirred but not overturned.
The Offspring’s “The Kids Aren’t Alright” stand pat at sixteen, while new momentum arrives with Goo Goo Dolls’ “Iris” debuting at seventeen.
Nine Inch Nails enter at eighteen with “The Perfect Drug,” bringing industrial tension to the lineup’s late third.
Cake maintain nineteen with “I Will Survive,” and Creed’s “One Last Breath” closes the month at twenty, ushering in a denser, more emotionally wrought finish to the chart.
Trip Hop
Trip hop stays anchored by Death in Vegas as “Aisha” presides over the chart with unbroken authority, followed again by Zero 7’s “Destiny” and Björk’s “I Miss You,” whose top-three choreography settles into a familiar glide.
Roots Manuva holds fourth, but the first visible shift arrives as Portishead’s “All Mine” rises to fifth, displacing Olive’s “You’re Not Alone” to sixth in a subtle inversion.
Zero 7’s “In the Waiting Line” moves up to seventh while Death in Vegas elevate “Scorpio Rising” to eighth, continuing their steady expansion across the chart.
Groove Armada climb to ninth with “I See You Baby,” nudging Death in Vegas’ “Hands Around My Throat” into tenth as Björk’s “Army of Me” slides one place.
Portishead and Morcheeba trade upper-mid placements as “Sour Times” and “Let Me See” reposition themselves in a modest late-autumn shuffle.
Massive Attack preserve fourteenth as Björk’s “Hunter” rises to fifteen, reclaiming mid-table visibility.
Portishead’s “Glory Box” stays steady at sixteen, while Fluke’s “Absurd” enters at seventeen to brighten the lower end with its rhythmic menace.
Everything But The Girl’s pair of downtempo staples swap spots, placing “Missing” ahead of “I Don’t Want to Talk About It.”
Björk’s “Bachelorette” remains the chart’s endpoint for another month, closing a list that moves with a kind of incremental gravity rather than sudden swings.
80s New Wave Pop
Fine Young Cannibals extend their lead as “Johnny Come Home” holds steady at number one, its taut melancholy keeping Sheena Easton and the Thompson Twins in a familiar second and third place.
Bryan Ferry’s “Kiss and Tell” rises to fourth, nudging Blondie’s “The Tide Is High” to seventh and briefly unsettling the long-standing pattern of ’80s pop favourites clustered near the top.
Naked Eyes climb to fifth with “Promises, Promises,” reversing positions with the Thompson Twins’ “Doctor! Doctor!” which now settles at six.
Thompson Twins maintain their broad mid-chart presence as “Lies” and “King for a Day” each dip a rung yet preserve their tight sequence across the upper middle.
Texas gain to eighth with “Every Day Now,” subtly elevating the chart’s quieter corners without disturbing its dominant synth-pop core.
The Lightning Seeds stabilise at eleven while Kate Bush’s “Army Dreamers” rises to twelve, trading places with Simple Minds in a controlled mid-table shuffle.
Further down, Thompson Twins continue their lattice of entries with “Lay Your Hands On Me” still in fourteenth, followed closely by Yazoo and Howard Jones, both holding position with characteristic steadiness.
Mike + The Mechanics’ “Silent Running” and Bronski Beat’s “Smalltown Boy” remain rooted in the late-teen block, joined by Men Without Hats’ “Safety Dance,” which slips gently but stays well within view.
The month’s only debut arrives at nineteen as Swing Out Sister’s “Twilight World” enters with cool, jazz-polished poise, pushing Dexys Midnight Runners to the chart’s closing spot at twenty.
Gangster Rap
Panjabi MC maintains unshakeable control of the gangster rap ranking as “Beware” crowns the chart once more, with Space Jam’s “Hit ’Em High” and 2Pac’s “Toss It Up” holding firmly in second and third.
Ice Cube’s “Check Yo Self” climbs to fourth, overtaking Nelly’s “N Dey Say,” which yields one position without losing momentum.
Fabolous and Lil Bow Wow keep their mid-top-ten foothold intact while 2Pac’s “Until the End of Time” rises to eighth, rearranging the central bracket with measured force.
Trick Daddy remains steady at nine as Jay-Z’s “Run This Town” and Mase’s “Breath Stretch Shake” reprise their roles at the edge of the upper tier.
Twista and Ice Cube swap positions mid-chart, their tracks moving lightly as the list settles into its familiar early-2000s pulse.
Jay-Z’s “Empire State of Mind” and “Holy Grail” continue to shadow one another in the lower centre while Puff Daddy, Dr. Dre, and Flo Rida all keep their footing with minimal drift.
The month’s lone newcomer appears at eighteen as Fabolous returns with “Can’t Let You Go,” its blend of R&B and street-level polish slipping seamlessly into the chart’s established texture.
50 Cent’s “Disco Inferno” again secures twentieth, closing a ranking that shifts just enough to feel alive without challenging its long-set hierarchies.
80s Glam Metal
David Lee Roth secures a second month at number one as “California Girls” continues to lead the glam metal chart with sun-drenched swagger.
Ozzy Osbourne fortifies his dominance just behind, keeping “Bark at the Moon” in second while elevating “The Ultimate Sin” to a new peak at fourth.
Asia’s “Heat of the Moment” stays firm at three, bridging the gap between Roth’s buoyancy and Ozzy’s stomping theatrics.
Foreigner maintain their multi-track mid-chart presence as “I Don’t Want to Live Without You” stays at five, now followed by Ratt’s “You’re In Love,” which ascends to sixth and nudges Cheap Trick’s “The Flame” back to seven.
Def Leppard fall slightly as “Rock of Ages” lands at eight, though the chart’s classic-rock spine remains otherwise steady across Foreigner, White Lion, and Dio’s two entries.
Foreigner’s “Say You Will” rises to eleven while “Urgent” stabilises at fifteen, the band’s internal ordering shifting but their collective grip unchanged.
Ozzy Osbourne’s “Crazy Train” remains on its long ride at sixteen, just ahead of Judas Priest and a resurgent “Animal” from Def Leppard, which debuts at eighteen to bring sharper edges to the lower chart.
Styx’s “Babe” and Ratt’s “Lay It Down” close out the month with their places intact, ending a chart that balances new energy with decade-bound loyalty.
90s Mellow Gold
Leo Sayer extends his mellow-gold reign as “When I Need You” holds number one with unwavering softness, followed once again by Bob Seger and Paul McCartney in a top three that feels set in amber.
Bee Gees lift “For Whom the Bell Tolls” to fourth, displacing Bryan Adams’ “Have You Ever Really Loved a Woman?” to fifth in a modest yet meaningful shuffle.
Seger’s “Night Moves” stays fixed at six while Adams’ “Back to You” remains anchored at seven, the pair continuing their duet of steady chart endurance.
Mike + The Mechanics preserve their back-to-back placements at eight and ten, mirroring October but with slightly brightened contour as Pretenders’ “Kid” stays firm at nine.
Status Quo and Eric Clapton align neatly at eleven and twelve, with Bonnie Raitt rising to thirteen and Bee Gees’ “Alone” slipping one place behind.
Bryan Adams maintains his late-chart presence at fifteen as Marc Cohn and Clapton trade positions in a subtle rearrangement of the chart’s lower warmth.
Public Enemy’s “He Got Game” remains rooted at eighteen, its political edge offering contrast to the surrounding soft-rock calm.
The month’s only debut arrives at nineteen as Carly Simon’s “You’re So Vain” reenters the conversation with renewed bite, nudging Gerry Rafferty’s “Baker Street” down to twentieth but not out of sight.
Old School Hip Hop
Old-school hip hop sees Space Jam’s “Hit ’Em High” lock down first place once more, but the month’s decisive move comes immediately behind as LL Cool J’s “Loungin” climbs to second, replacing Newcleus’ “Jam On It,” which now slips to third.
Chubby Checker’s “The Twist” rises sharply to fourth, pushing Anthrax’s “Bring Tha Noize” to a sturdy fifth and giving the upper chart a more eclectic bend.
BDP’s “Self Destruction” lifts to sixth, prompting Grandmaster Melle Mel’s “White Lines” to fall a step while Eric B. keeps “Let the Rhythm Hit ’Em” steady at eight.
Public Enemy gain renewed traction mid-chart as “Welcome to the Terrordrome” and “Brothers Gonna Work It Out” climb into ninth and tenth respectively, reshaping the political centre of the listing.
“911 Is a Joke” holds firm at eleven while LL Cool J’s “Phenomenon