One Of Tom Petty's Most Famous Songs Debuts In America
Before he passed away in October 2017, Tom Petty had already proven himself to be a rock star in America, one who scored many successful singles throughout his career. His popularity, however, didn't immediately translate when the streaming era began, as many of his most diehard listeners already owned his albums. It took time for some of his collections to find their footing on platforms like Spotify, Apple Music, and other similar sites.
At the time of his death, Petty had only landed one hit on Billboard's Rock Streaming Songs chart, but that number exploded as people rushed to listen to his catalog once the sad news was shared. Since then, Petty hasn't collected a new hit on that tally, until this week.
'American Girl' Debuts on the Rock Streaming Songs Chart
'American Girl' debuts at No. 22 on Billboard's ranking of the most-streamed rock-only cuts in the United States. Petty, alongside his band the Heartbreakers, collects an eighth hit on the Rock Streaming Songs chart as the tune arrives. The celebrated musician hasn't launched a tune on the tally since October 2017, just after his passing.
As it opens at No. 22, 'American Girl' takes over from 'Runnin' Down a Dream' as Petty's lowest-peaking track on this list. The tune launches on the rock streaming tally after fans across the country turned to it in celebration of the Fourth of July holiday.
Tom Petty and Zach Bryan Score the Week's Only Debuts
Petty scores one of only two debuts on the Rock Streaming Songs ranking this frame. Zach Bryan launches 'River Washed Hair' at No. 4.
The lack of competition helps several classics by some of the biggest names in rock history return to the same list. Bruce Springsteen's 'Born in the U.S.A.,' Fleetwood Mac's 'The Chain,' Creedence Clearwater Revival's 'Fortunate Son,' and 'Take It Easy' by the Eagles all reenter the Rock Streaming Songs chart at Nos. 15, 17, 21, and 25, respectively.
Among that bunch, Springsteen's classic — which is also on the rise thanks to the Fourth of July — reaches a never-before-seen high point as it reappears.
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Yet 'Allentown' also poses a pretty sophisticated critique of the social and political forces converging on a generation of Americans promised prosperity only to find a flag thrown in their face. With its head on fire and its eyes too bloody to see, 'Big Shot' imagines a morning-after quarrel between Mick and Bianca Jagger, Joel told Howard Stern, amid the excesses of what he described with disgust in Schruers' book as the 'coked-out, disco-drenched New York club scene' of the Studio 54 era. 'I shouldn't put it down, because I don't really know much about it,' he added. OK, Bill. Joel's most-streamed song on Spotify (with more than 1.2 billion plays) is an ouroboros of simpler-times nostalgia: a pitch-perfect Four Seasons rip that looks back at the early '60s from the early '80s — then became the longed-for totem at the heart of Olivia Rodrigo's 'Deja Vu.' 'It's the only song where I wrote the words first,' Joel said in 2017, 'which it sounds like, because the music sucks.' Demonstrably untrue — those timbales! Even if he were right, though, the rapid-fire historical roll call of 'We Didn't Start the Fire' deserves our respect as a crucial artifact of a pre-internet America. Your Wikipedia could never. The guy's asking for a lot: do this, don't do that; amuse me but not too much; listen to what I say instead of what I do (although sometimes I'll forget to say it too). But then there's that gently insistent groove and that pillowy electric piano. And that singing! Showy but intimate, talky yet supple, it's murmuring assurances to rebut the very doubts he's raising. Joel's first No. 1 offered him early proof that sometimes haters win. Think about the way Joel starts this song: 'Come out, Virginia, don't let me wait / You Catholic girls start much too late / But sooner or later it comes down to fate / I might as well be the one.' Two opposing worldviews colliding in four little lines against music trembling with the shared sense of anticipation that unites both the narrator and Virginia. Pop gets no richer. What other Billy Joel song could top a list of Billy Joel songs? 'Movin' Out' wants us to believe that success is for suckers, which is somehow a credo he's continued to sell — and we've continued to buy — through his ascent to the uppermost reaches of pop culture. These days Joel isn't Anthony or Mama Leone or even Mr. Cacciatore — he's the big shot who owns the medical center, not to mention whatever else is available on Sullivan Street. Yet his glorious bridge-and-tunnel music — proud, wounded, defensive, ambitious — keeps asking: Is this all I get for my money?
