October’s Vintage Music Charts reveal measured shifts across 29 genres. Death In Vegas extend their dominance in both Big Beat and Trip Hop, while The Stone Roses and Oasis keep Britpop firmly under their control. Kendrick Lamar and SZA continue leading 2010s R&B with “All The Stars.”
Fluke, The Strokes, and D’Angelo make key debuts, adding fresh weight to their respective categories, as Shalamar, Neil Diamond, and CeCe Peniston maintain unbroken streaks at the top. Explore all movements, returns, and late entries in this month’s highlights.
Here is the Oct 31,2025 edition
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Big Beat
Death In Vegas maintain control of the Big Beat chart as “Aisha” holds firm at number one for a second month, shadowed closely once again by Armand Van Helden’s “My My My.”
Fatboy Slim’s “Star 69” climbs two places to number three, trading positions with Death In Vegas’ “Hands Around My Throat,” which slips to fifth but stays comfortably inside the top five.
Groove Armada advance to sixth with “I See You Baby,” their highest placement since summer, while “Scorpio Rising” edges upward to seventh, giving Death In Vegas an impressive trio inside the top ten.
Basement Jaxx descend to eleventh as “Where’s Your Head At” cools, while Fluke debut at fifteen with “Absurd,” injecting the list with a darker, more experimental strain of breakbeat.
Leftfield’s “Afro Left” makes its entrance at eighteen, a rare reappearance for a 1990s track, reminding listeners of the duo’s early rhythmic innovations.
William Orbit closes the month’s new activity at number twenty with “Barber’s Adagio For Strings,” a crossover piece that bridges classical emotion and electronic form.
The upper half remains largely stable, signaling consolidation among the dominant names, while the lower positions absorb these archival yet enduring arrivals.
2000s Garage Rock
The 2000s Garage Rock chart remains anchored by The White Stripes’ “I Just Don’t Know What To Do With Myself,” which continues its hold at number one.
Babyshambles’ “Albion” and The Raconteurs’ “Steady As She Goes” retain their respective second and third positions, reflecting consistent listener demand across both months.
The Hives advance to fourth with “Hate To Say I Told You So,” displacing Jet’s “Are You Gonna Be My Girl” to fifth, while Black Rebel Motorcycle Club’s “Love Burns” holds steady in sixth.
The 5.6.7.8’s enjoy a surge to seventh with “I’m Blue,” marking one of the sharper climbs of the month, as Electric Six’s “Danger! High Voltage” and The White Stripes’ “Seven Nation Army” round out the upper ten.
Kasabian’s “Goodbye Kiss” slips slightly but remains in the middle tier, while The Strokes debut at eighteen with “Someday,” adding a fresh New York accent to a chart long dominated by British acts.
The lower third stays otherwise stable, with Arctic Monkeys’ “Why’d You Only Call Me When You’re High” easing to twentieth and Wolfmother’s “Woman” unchanged at nineteen.
The configuration overall reflects tightening equilibrium among long-established tracks, interrupted mainly by the late-cycle debut from The Strokes.
Britpop
“Sally Cinnamon” by The Stone Roses continues its unbroken run at the top of the Britpop chart, with Oasis’ “Some Might Say” still fixed at number two.
Saint Etienne remain unmoved in third with “You’re In A Bad Way,” while Cast preserve dual strength as “Alright” and “Walkaway” hold at fourth and fifth respectively.
Black Box Recorder’s “Child Psychology” keeps its foothold at six, and the next reshuffle begins further down, as Oasis’ “Roll With It” overtakes James’ “Sit Down” for seventh.
Lush remain at nine with “For Love,” but EMF’s “Unbelievable HD” edges up to eleven, nudging Shed Seven’s “Chasing Rainbows” lower to fifteen.
Oasis supply fresh motion at sixteen with “Stand By Me,” their highest new entry, while “Live Forever” closes the list at number twenty, underscoring the group’s sustained catalogue appeal.
The remainder of the ranking stays orderly, emphasizing Oasis’ renewed presence through two entries without disturbing the dominance of The Stone Roses at the summit.
90s Sophisti-Pop
In 90s Sophisti-Pop, Molella’s “With This Ring Let Me Go” extends its lead at number one, keeping Sade’s “Kiss Of Life” securely in second.
Sting’s “Mad About You” remains at three, though the reshuffling below sees Chris Rea’s “Auberge” climb to fourth, displacing “Shape Of My Heart” to sixth.
Everything But The Girl’s “Missing” edges slightly higher to fifth, maintaining momentum as their “Rollercoaster” also holds steady at twelve.
Further down, Prefab Sprout’s “The Sound of Crying” arrives at eighteen, reintroducing the band to the chart after a long absence and adding depth to the month’s lineup.
Rick Astley’s “Cry For Help” moves to twentieth, now acting as the list’s closer after trading places with Aztec Camera’s “Good Morning Britain.”
Despite limited volatility at the top, the month’s small adjustments yield a tighter middle range and confirm the continued strength of early-1990s mainstays.
2010s R&B
Kendrick Lamar and SZA remain immovable at number one on the 2010s R&B chart with “All The Stars,” while Jorja Smith’s “Blue Lights” holds second and A$AP Rocky’s “Everyday” continues to command third.
The upper section shifts modestly as Nafe Smallz debuts at fourth with “Good Love,” a new entry breaking the month’s established trio of leaders.
Enrique Iglesias’ “Dirty Dancer” slips one place to fifth, followed by Summer Walker’s “Playing Games,” which maintains sixth position through consistent airplay.
Weeknd’s “Try Me” and Nick Jonas’ “Jealous” hold their ground, while Khalid’s “Better” remains within the top ten at ninth.
Toni Braxton’s “Yesterday” returns to prominence at tenth, showing renewed listener attention, and Ella Mai’s “Trip” softens to seventeenth.
The lower region remains largely intact, with “Blinding Lights” by The Weeknd stable at twentieth, ensuring his dual presence in the ranking endures.
The debut of “Good Love” provides the period’s only substantial change, marking a measured evolution within an otherwise steady chart profile.
Neo-Mellow
Gary Jules’ “Mad World” continues to dominate the Neo-Mellow chart without interruption, its stark simplicity maintaining top position through October.
Jason Mraz’s “I’m Yours” remains unshaken at number two, reinforcing the steady upper structure of the ranking.
Keane hold firm with “Everybody’s Changing” and “Somewhere Only We Know” in third and fourth, showing no loss of momentum for their early-2000s catalogue.
Jack Johnson’s “Sitting Waiting Wishing” stays comfortably in fifth, while Michelle Branch continues her twin run as “Everywhere” and “All You Wanted” settle into sixth and seventh.
Dido’s “Thank You” overtakes “Superman (It’s Not Easy)” for eighth, with Five for Fighting sliding to tenth as Paolo Nutini’s “New Shoes” retains ninth.
Craig David’s “Unbelievable” advances to twelfth, hinting at renewed recognition for his restrained, melodic material.
James Blunt enters at number twenty with “You’re Beautiful,” the month’s only debut, its acoustic melancholy fitting neatly within the chart’s reflective tone.
The overall landscape remains largely unchanged, anchored by consistency and minor internal adjustments among mid-chart staples.
P0st-Disco
Shalamar’s “Make That Move” remains the central force on the Post-Disco chart, preserving its number-one placement into late October.
Slave arrive at number two with “Just a Touch of Love,” the highest new entry and a decisive shake-up to the month’s upper tier.
Imagination’s “Just an Illusion” and Patrice Rushen’s “Forget Me Nots” continue their adjacent runs at third and fourth, separated only by small shifts in rotation.
Club Nouveau’s “Lean On Me” rounds out the top five, while Evelyn “Champagne” King’s “I’m In Love” holds its ground just below.
The S.O.S. Band appear twice within the top ten, as “Just the Way You Like It” debuts at eight and “Take Your Time (Do It Right)” moves down one place to ninth.
Roger Troutman’s “I Want To Be Your Man” and Shalamar’s “Over and Over” stay stable within the upper positions, maintaining balance amid the month’s new inclusions.
The mid-section adjusts modestly, while the lower half remains largely unchanged, preserving the genre’s enduring smoothness across decades.
Yacht Rock
Neil Diamond’s “Hello Again” secures its second consecutive month at number one on the Yacht Rock chart, undisturbed by strong competition below.
George Benson moves to number two with “In Your Eyes,” trading places with Chicago’s “Hard To Say I’m Sorry,” which slips to third yet continues to define the chart’s soft-rock foundation.
Don Henley’s “The Boys of Summer” and Michael McDonald’s “I Keep Forgetting (Every Time You’re Near)” hold steady at fourth and fifth, preserving the genre’s signature balance between introspection and polish.
The Eagles’ “Hole In The World” rises slightly to sixth, nudging Chicago’s “Along Comes a Woman” to seventh, while Benson maintains another entry with “Give Me the Night” at eighth.
James Ingram’s “Yah Mo B There” enters at seventeen, bringing a gospel-tinged edge to the chart’s mellow texture.
The rest of the list remains structurally stable, underscoring the format’s reliance on established acts whose presence defines its timeless mid-tempo sound.
Diva House
CeCe Peniston continues her reign at number one on the Diva House chart with “Keep On Walkin’,” followed closely once again by Urban Cookie Collective’s “The Key The Secret.”
Steps’ “One for Sorrow” stays in third, while Corona’s “The Rhythm of the Night” and La Bouche’s “Sweet Dreams” round out a top five unchanged since September.
Rozalla’s “Everybody’s Free (To Feel Good)” climbs one spot to sixth, trading places with “Be My Lover” by La Bouche, now ninth as Whigfield’s “Close to You” and Cappella’s “Move It Up” rise above it.
Captain Hollywood Project debuts at number twenty with “Only With You,” restoring early-’90s Eurodance energy to the lineup.
The chart’s upper range shows continuity, but its final position now acknowledges a key act whose blend of emotional vocals and fast-paced rhythm redefines the lower boundary of the genre this month.
Vintage Power Pop
Blondie’s “The Tide Is High” extends its unbroken hold atop the Vintage Power Pop chart into October, with XTC’s “Mayor of Simpleton” again trailing at number two.
Nada Surf’s “Inside of Love” maintains third, while Cheap Trick’s “The Flame” and Squeeze’s “Tempted” preserve fourth and fifth, confirming the chart’s enduring late-century orientation.
Todd Rundgren’s “Bang the Drum All Day” and XTC’s “Generals and Majors” keep their mid-top-ten positions intact, as The Knack’s “My Sharona” and Ash’s “Shining Light” anchor the pop-rock crossover section.
Weezer’s “Island in the Sun” advances slightly to eleventh, while XTC’s “Senses Working Overtime” gains renewed traction, edging toward the upper half once more.
The Cars’ double entries “Drive” and “Tonight She Comes” remain adjacent at sixteen and seventeen, followed by XTC’s “Dear God,” ensuring the group’s continued dominance in chart representation.
The month closes with Dinosaur Jr.’s “Feel the Pain” unmoved at twentieth, completing a remarkably consistent set where minor adjustments sustain the genre’s classic balance between polish and punch.
Eurodance
Culture Beat continue to hold an unbreakable lead atop the Eurodance chart, with “Anything” and “Crying in the Rain” again occupying the top two positions.
Dr. Alban’s “It’s My Life” remains solid in third, keeping Strike’s “U Sure Do” and ATC’s “All Around The World” locked in place to round out an unaltered top five.
U96’s “Club Bizarre” edges upward to sixth, overtaking Culture Beat’s “Take Me Away,” while Daze’s “Together Forever” and Dr. Alban’s “Away From Home” simply trade positions within the top ten.
Groove Coverage’s “Moonlight Shadow” gains momentum at number eleven, just ahead of Scooter’s “Nessaja” and “Fire,” whose dual presence underscores the group’s continuing relevance.
Urban Cookie Collective and Ice MC maintain their foothold in the midsection, while Miss Jane’s “It’s A Fine Day” inches upward to sixteenth.
The month’s only debut, Sonic Dream Collective’s “Oh Baby All,” arrives at twentieth, marking a rare Swedish reentry into a genre still defined by continental mainstays.
Overall, October shows strong chart continuity with a late-era addition that reconnects the scene to its mid-’90s roots.
Heartland Rock
Neil Diamond retains his leadership position on the Heartland Rock chart with “Hello Again,” his second chart-topping appearance this season.
Bob Seger’s “Hollywood Nights” rises to second, switching places with Bryan Adams’ “Here I Am,” while Cheap Trick’s “The Flame” holds its line in fourth.
Adams’ “Have You Ever Really Loved A Woman?” stays in fifth, giving him two songs in the upper range, balanced by Seger’s “Night Moves” just below at number six.
Don Henley and Bryan Adams both maintain their subsequent slots, with “The Boys Of Summer” and “Back To You” positioned seventh and eighth respectively.
Foreigner continues to dominate the middle sector, placing four songs within the top twenty and highlighting the band’s broad catalogue appeal.
Steve Miller Band’s “Abracadabra” moves up to fifteenth, while Bonnie Raitt’s “Nick Of Time” now closes the list at number twenty.
The general configuration remains recognizable, showing stability with small internal exchanges typical of a mature, catalog-driven ranking.
New Jack Swing
Shalamar’s “Make That Move” extends its rule at number one on the New Jack Swing chart, maintaining clear distance from Jodeci’s “Cry For You” in second.
Atlantic Starr’s “Always” holds its third position, though Stephanie Mills’ “Never Knew Love Like This Before” moves up to fourth, reversing spots with The S.O.S. Band’s “Take Your Time (Do It Right),” which slides out of the top five.
Tevin Campbell remains steady in fifth, while Bell Biv DeVoe’s “Poison” continues its consistent run at sixth.
Club Nouveau and Wreckx-N-Effect keep their mid-tier placements, as Roger Troutman’s “I Want To Be Your Man” returns to the upper ten at ninth.
The S.O.S. Band claim two consecutive listings with “Just the Way You Like It” debuting at number ten, one slot above their earlier single.
The lower ranks retain their core set, though BDP’s “Self Destruction” climbs slightly to fifteenth, marking a modest resurgence for its message-driven legacy.
Overall, October’s sequence blends minor reordering with a touch of historical reentry, reinforcing the chart’s nostalgic strength.
Post-Grunge
Candlebox continue to lead the Post-Grunge chart with “Far Behind,” maintaining a firm grip on first place as Limp Bizkit’s “Behind Blue Eyes” stays close in second.
Counting Crows advance to third with “Accidentally In Love,” trading places with Matchbox Twenty’s “Real World,” now fourth.
Live’s “Selling The Drama” climbs to fifth, benefiting from renewed interest in their mid-’90s catalogue.
Taproot make the month’s only debut with “Again And Again” at number six, injecting fresh intensity into a list otherwise anchored by long-standing titles.
The Used and Paul Oakenfold both hold steady in the upper half, while Faith No More and Chris Cornell continue their parallel runs at ninth and tenth.
Nickelback’s “How You Remind Me” slides to fourteenth as their “Too Bad” closes the list at twentieth, showing slight erosion but continued representation.
The Offspring maintain back-to-back placements with “The Kids Aren’t Alright” and “Pretty Fly (For A White Guy),” still central to the chart’s late-’90s flavor.
The result is a chart that favors established endurance, punctuated by Taproot’s forceful mid-decade reappearance.
Trip Hop
Death In Vegas keep their firm grasp on the Trip Hop chart as “Aisha” remains at number one for a third consecutive month.
Zero 7’s “Destiny” holds second and Björk’s “I Miss You” keeps third, confirming an unshaken top trio.
Roots Manuva’s “Witness (1 Hope)” continues in fourth, while Olive’s “You’re Not Alone” advances into the fifth spot, displacing Death In Vegas’ “Hands Around My Throat” to seventh.
Portishead’s “All Mine” and “Sour Times” now sit side by side in sixth and ninth, with Zero 7’s “In The Waiting Line” climbing to eighth in between.
Groove Armada’s “I See You Baby” gains a place to tenth, maintaining cross-chart presence between Trip Hop and Big Beat listings.
Björk’s “Hunter” debuts at number twenty, rounding off the list with its stark electronics and introspective tone, joining her multiple entries this cycle.
The chart remains centered on its key artists—Björk, Portishead, and Death In Vegas—each commanding multiple placements that continue to define the genre’s landscape.
80s New Wave Pop
Fine Young Cannibals continue to dominate the 80s New Wave Pop chart as “Johnny Come Home” retains its top position for another month.
Sheena Easton rises sharply to number two with “Almost Over You,” replacing Thompson Twins’ “Doctor! Doctor!,” which slips to fifth after a strong showing in September.
Thompson Twins remain heavily represented, with “Hold Me Now” climbing to third and “Lies” and “King For A Day” holding steady in the middle ranks.
Blondie’s “The Tide Is High” steadies in fourth, while Naked Eyes move upward to sixth with “Promises, Promises.”
Bryan Ferry’s “Kiss and Tell” reaches eighth, overtaking Texas’ “Every Day Now,” which edges down one place to tenth.
The major debut of the month is Bronski Beat’s “Smalltown Boy” at number eighteen, a defining synthpop anthem re-entering contemporary rotation with renewed relevance.
The rest of the list holds largely intact, preserving the decade’s distinct balance between new romantic sensibility and emerging electronic polish.
Gangster Rap
Panjabi MC’s “Beware” remains firmly in control of the Gangster Rap chart, holding its lead for a second consecutive cycle.
“Hit ’Em High” from the Space Jam soundtrack maintains second, while 2Pac’s “Toss It Up” stays locked in third, ensuring stability among the chart’s upper trio.
Nelly’s “N Dey Say” climbs to fourth, exchanging spots with Lil Bow Wow’s “Bow Wow (That’s My Name),” which now rests in fifth.
Fabolous’ “Breathe” remains in sixth, but Ice Cube’s catalogue reconfigures as “Check Yo Self” advances to seventh, nudging “You Know How We Do It” to eighth.
Trick Daddy’s “Let’s Go” enters the top ten at ninth, while Jay-Z’s “Run This Town” completes that section unchanged.
D12’s “Purple Pills” falls to eighteenth, marking one of the month’s steeper drops, whereas 2Pac’s “Until the End of Time” and Twista’s “Overnight Celebrity” show moderate upward shifts.
October’s configuration highlights fine movement within the middle order, while the upper half remains almost entirely immovable.
80s Glam Metal
David Lee Roth’s “California Girls” continues its commanding run at number one on the 80s Glam Metal chart, followed closely by Ozzy Osbourne’s “Bark at the Moon.”
Asia’s “Heat of the Moment” stays comfortably in third, and Cheap Trick’s “The Flame” maintains its fourth-place position for another cycle.
Def Leppard’s “Rock of Ages” and Ozzy Osbourne’s “The Ultimate Sin” occupy fifth and sixth, confirming the stability of the chart’s upper structure.
Foreigner gain traction with “I Don’t Want to Live Without You,” now rising to seventh, while White Lion’s “Wait” moves to eighth, trading positions with Ratt’s “You’re in Love.”
Judas Priest’s “Living After Midnight” climbs to seventeenth, pushing Styx’s “Babe” down one slot to eighteenth as Ozzy Osbourne’s “Crazy Train” gains renewed attention in sixteenth.
The general order stays largely consistent, reaffirming the genre’s enduring focus on established acts and classic radio staples.
90s Mellow Gold
Leo Sayer’s “When I Need You” secures another month at number one on the 90s Mellow Gold chart, holding off Bob Seger’s “Hollywood Nights” at number two.
Paul McCartney’s “Hope of Deliverance” remains steady in third, while Bryan Adams’ “Have You Ever Really Loved A Woman?” stays rooted at fourth.
Bob Seger’s “Night Moves” and the Bee Gees’ “For Whom the Bell Tolls” follow unchanged, maintaining the smooth sequence of late-century soft rock.
Mike + The Mechanics’ “Another Cup of Coffee” gains two spots to eighth, while Pretenders’ “Kid” and Status Quo’s “Fun Fun Fun” maintain steady mid-chart positions.
Bruce Springsteen’s “Lucky Town” debuts at number twenty, closing the month’s activity with a late entry that bridges Mellow Gold and Heartland Rock sensibilities.
The remainder of the chart remains notably stable, with Eric Clapton, Bonnie Raitt, and Gerry Rafferty retaining consistent mid-to-lower positions in an unshaken top-heavy lineup.
Old School Hip Hop
Space Jam’s “Hit ’Em High” continues to dominate the Old School Hip Hop chart, while Newcleus’ “Jam on It” remains in close pursuit at number two.
LL Cool J’s “Loungin” secures a third month in the top three, followed by Anthrax’s “Bring Tha Noize” at fourth, preserving the balance between rap and crossover metal energy.
Chubby Checker’s “The Twist” climbs to fifth, pushing Grandmaster Melle Mel’s “White Lines (Don’t Don’t Do It)” to sixth.
BDP’s “Self Destruction” advances to seventh, reflecting a revived audience interest in politically charged material.
Eric B. & Rakim’s “Let The Rhythm Hit ’Em” holds at eighth, while Public Enemy dominate much of the lower chart with multiple recurring entries.
Steady B’s “Serious” enters at number fourteen, a noteworthy addition that reintroduces mid-’80s Philadelphia production flair into the current rotation.
The updated list balances early pioneers with returning anthems, keeping the genre’s roots firmly in focus.
Boy Bands Retro
All-4-One keep firm control of the Boy Bands Retro chart with “I Swear” and “I Can Love You Like That” again occupying the top two spots, a pairing that continues to define the genre’s current focus.
Bell Biv DeVoe’s “Poison” holds steady in third, while Color Me Badd’s “All 4 Love” and Let Loose’s “Crazy For You” preserve their positions in fourth and fifth respectively.
A1’s “Like A Rose” remains at sixth, while the Jonas Brothers’ “Play My Music” edges up to seventh, benefiting from enduring nostalgic appeal.
The key addition this month is Damage’s cover of “Wonderful Tonight,” debuting at number eight and providing a sleek R&B inflection within an otherwise harmony-driven lineup.
Ready For The World and Backstreet Boys both slip one place each, while New Edition’s “Mr. Telephone Man” drops to twelfth after a solid prior showing.
The lower end remains largely intact, with A1’s “Everytime” sliding to twentieth and Westlife’s “When You Tell Me That You Love Me” moving up slightly to nineteenth.
The October update balances enduring stability with one notable newcomer, reaffirming the chart’s focus on vocal polish and mid-tempo sentimentality.
Indie Rock
Sigur Rós maintain a steady grip on the Indie Rock chart with “Hoppípolla” continuing its run at number one, followed closely by Mono’s “Life In.”
LCD Soundsystem climb to third with “All My Friends,” exchanging positions with Gerry Cinnamon’s “Sometimes,” now fourth.
Franz Ferdinand’s “Take Me Out” completes the unchanged top five, while Hot Chip’s “Boy From School” and Editors’ “An End Has A Start” remain securely placed mid-upper tier.
Death Cab for Cutie’s “I Will Follow You Into the Dark” and Hot Chip’s “One Life Stand” continue to occupy adjacent positions, with The Raconteurs’ “Steady As She Goes” rounding out the top ten.
The Hives’ “Hate To Say I Told You So” rises to thirteenth, overtaking Pavement’s “Shady Lane,” while Interpol now hold three separate entries clustered in the lower half.
No new titles emerge this month, preserving the list’s established atmosphere of introspective guitar work and electronic restraint.
Girl Groups
Jade’s “I Wanna Love You” continues its lead on the Girl Groups chart, unshaken by competition from SWV’s “Can We” in second place.
No Angels’ “Daylight In Your Eyes” remains at number three, while The Veronicas’ “4Ever” jumps to fourth, marking the month’s most visible climb.
All Saints’ “Never Ever” and Sugababes’ “Hole In The Head” hold fifth and sixth, ensuring a firm early-2000s core at the top.
En Vogue’s pair of singles, “Giving Him Something He Can Feel” and “Riddle,” maintain top-ten presence alongside MC Lyte’s “Keep On Keepin’.”
M2M’s “Don’t Say You Love Me” slips to eleventh, replaced in the upper field by Brownstone’s “If You Love Me.”
702’s “Where My Girls At” debuts at number seventeen, infusing late-’90s R&B confidence into a lineup otherwise shaped by early-2000s voices.
The month’s adjustments keep the chart balanced between vintage harmonies and enduring modern pop rhythm.
Pop Dance
Loud Luxury’s “Body” holds the top spot on the Pop Dance chart for another month, as Lost Frequencies’ “Reality” advances to second, switching places with Supermode’s “Tell Me Why.”
Tiësto’s “Lethal Industry” and Fedde Le Grand’s “Put Your Hands Up For Detroit” round out a top five unchanged in spirit if not in sequence.
Avicii continues to appear prominently, with “My Feelings For You,” “Without You,” and “Heaven” each maintaining chart positions across different tiers.
Deadmau5’s “Ghosts ’N’ Stuff” debuts at number eleven, reintroducing a late-2000s classic to the rotation and adding sharper electro texture to an otherwise melodic lineup.
Shakira’s “Waka Waka (This Time for Africa)” enters at eighteen, a global pop crossover that pushes Armin van Buuren’s “This Is What It Feels Like” toward the lower boundary.
The rest of the field sees minimal change, reflecting continued listener preference for established electronic anthems over new arrivals.
Neo Soul
Gnarls Barkley’s “Who Cares” remains at number one on the Neo Soul chart, followed by De La Soul’s “All Good?” and Aaliyah’s pair “Hot Like Fire” and “If Your Girl Only Knew” in third and fourth.
Erick Sermon’s “Music” and Jay-Z’s “Empire State of Mind” anchor the next positions, showing no movement since last month.
SWV’s “Can We” holds seventh, while Slum Village’s “Tainted” advances to eighth, displacing Nicole’s “Make It Hot.”
D’Angelo’s “Lady” debuts at number eleven, marking his re-entry into the chart after a long hiatus, joined by “Brown Sugar” and “Cruisin’” at eighteen and twenty respectively.
Kelis’ “Milkshake” appears at nineteen, adding a bright, pop-leaning contrast amid the genre’s smoother palette.
The chart’s structure widens around D’Angelo’s multiple inclusions, giving October a distinctly mid-’90s flavor within the modern neo-soul frame.
Art Rock
Kate Bush’s “Army Dreamers” continues its unbroken streak at number one on the Art Rock chart, cementing its role as the defining track of the moment.
XTC remain close behind with “Mayor of Simpleton” and “Generals and Majors” holding steady at second and fourth, while Todd Rundgren’s “Bang the Drum All Day” keeps its firm grip on third.
Radiohead’s “No Surprise