Latest news with #PinkPantheress
ABC News
3 days ago
- Entertainment
- ABC News
From PinkPantheress to Thom Yorke — these are the best new albums of May
Finding time to seek out new music is a luxury that's becoming harder to satisfy. Not only does it feel like life just gets busier, there's more music than ever and it's never been easier to access it. This makes it tough to know where to start. Our music experts hoover up most new releases, and they're dedicated to making sure the cream of what's been released finds a way to your ears. They might not cure your choice paralysis, but they'll help you through it. Here are 10 albums worth your time this month, whether you're a pop stan, rock dog or someone who just likes a bit of everything. Feel like time travelling for 20 minutes? Let British pop star PinkPantheress take you back to the dancefloors of the 2000s, where cinematic strings clashed with garage beats and sleek pop melodies to help bring the sound of London's underground to the mainstream. While she borrows liberally for her second mixtape — you'll literally hear classics from Underworld, William Orbit, Panic At The Disco and Basement Jaxx in the mix — PinkPantheress imbues more than enough of her own talent and perspective to take it beyond pastiche and make it something unique. For fans of: Sugababes, The Streets, William Orbit "Back to my old tricks again" Thom Yorke sings on 'Back In The Game', from electronic album with British producer Mark Pritchard. Indeed, Tall Tales contains all the Radiohead frontman's signatures; dystopian in both eerie sound and doomsaying subject matter, reflecting a world warped by greed, twisted politics and climate emergency. Not exactly ground-breaking, predictable even, continuing Yorke's busy streak from The Smile, film soundtracks and a solo Australian tour (that wasn't without controversy). That said, Pritchard's subterranean instrumentals – tinkered on through the pandemic and possessing the air of lockdown lunacy — prompt Yorke to muck around with his voice and toward territory that's darker and weirder, even by his standards. 'The Men Who Dance In Stag's Heads' is Lou Reed going gothic folk, the title track's sinister panoply of inhuman voices makes 'Fitter, Happier' seem like a pop ditty, while 'The Spirit' is a rare moment of beauty — a shimmering dream amid many nightmares. For fans of: The Smile, Clark, Aphex Twin Retro futuristic icons Stereolab haven't delivered an album in 15 years, so the familiar feel of Instant Holograms On Metal Film will provide comfort and joy to their fans. There's a sophistication to the band's gentle, thoughtful, propulsive indie pop that extends beyond frontwoman Laetitia Sadier's French coo. It's in Andy Ramsay's gentle but decisive snare taps, the texture of Tim Gane's guitar, and the webs of vintage synths that scaffold each song. Sometimes, like on 'Aerial Troubles', you get so engrossed in their groove it's jarring when it ends. Thankfully, there's always another uber-cool synthy jam to swallow you up. For Fans Of: Françoise Hardy, Broadcast, Arthur Russell Beginning as the solo project of Thungutti man Jimmy Kyle, Chasing Ghosts have evolved on their Double J-featured fourth album into an arena-ready punk rock act. Think Smith Street Band on a Green Day budget. For all the polished production and instrumentation (Strings! Synths! Piano!) none of it sacrifices authenticity or intensity. Instead they amplify the emotional heart of tunes as likely to make you tear up as have you bellowing along. Kyle's passion and honesty shine on cathartic anthems addressing mental health, domestic violence, suicide, and the inequity and intergenerational trauma still faced by First Nations people. Therapy tackles tough topics but feels more life-affirming than harrowing, striking a tricky balance of being hooky, tender yet heavy-hitting. For fans of: Luca Brasi, The Amity Affliction, Stand Atlantic Americana trio I'm With Her stuck with their name post-Hillary (they had it first) and, more importantly, have kept making flawless, breathtaking folk music. They aren't in a rush, this second album arrived seven years on from their debut (though just months after this perfect Sabrina Carpenter cover), and there's something beautifully unhurried about the music too. These pastoral songs sound as though they could come from any time and will maintain their relevance for years to come. The elements are basic — mainly guitar and voices — and whether it's quiet intensity of 'Sister Of The Night Watch', the urgent, engrossing bridge of 'Standing On The Fault Line', or the lovesick jig of 'Find My Way To You', they deliver a procession of captivating moments that make them feel like more than the sum of their parts. For fans of: First Aid Kit, Gillian Welch, boygenius Canadian indie troupe Men I Trust are the definition of easy listening. Sticky melodies and woozy atmospheres are everywhere in their soft-focus, groove-driven bedroom pop, fronted by Emma Proulx's effortless, feather-soft vocals. They've achieved word-of-mouth popularity, with titanic streaming figures to match, despite lacking label backing or anything resembling mainstream presence. That's largely because they're the perfect 'switching off' soundtrack. Equus Caballus is no exception. But close listening is handsomely rewarded with sumptuous details lurking beneath the impossibly smooth surface — glossy synths, gargled bass tones, canny key changes and vivid, warm beauty. They're unfairly lumped in with groups that prioritise 'vibe' over song craft, but Men I Trust's latest proves they're head and shoulders above the zoned-out catnip littering Spotify playlists that encourage passive listening. For fans of: The Marías, Mac DeMarco, Air Fans didn't need much from Mclusky's return to recording after 21 years. If the songs were noisy, immediate, aggressive, and funny without veering into novelty territory, they'd be happy. While we've no doubt Andrew Falkous is a multifaceted human being, he knows his strengths. Any fear of this album sullying the Welsh trio's legacy are destroyed within minutes, as its pacey, intense songs with titles like 'kafka-esque novelist franz kafka' and 'way of the exploding dickhead' remind us why we fell so hard for this trio in the 2000s. Recent hearing issues haven't dulled their approach, as grinding bass, squawking guitar and pummelling drums remain the perfect platform for Falkous's cutting witticisms. For fans of: IDLES, Big Black, The Drones Hailing from the inner-north Melbourne suburb of Coburg, Surprise Chef's instrumental cinematic jazz-funk and hip-hop-tinged soul has made them darlings of crate-diggers, community radio and international taste makers alike. They're known for carefully orchestrated atmospheres and grooves tight enough to set your watch to. Superb, however, sees them loosening up, trading precision for spontaneity on music that's freer to tinker and explore. From the bait-and-switch of 'Body Slam' to the knob-twiddling on 'Consulate Case' and hazy highlights 'Websites' and 'Tag Dag', this is a group who fully grasp their signature, luxurious sound but are now confident enough to add extra spice to their established menu. Allow Surprise Chef time and space to cook, and they're guaranteed to dish up something tasty with a satisfying twist. For fans of: Khruangbin, Karate Boogaloo, Sven Wunder Melbourne garage punks Civic look a little different than on their last album, with a new drummer and one fewer guitarist. They sound a little different too. While the snarl of earlier records remains, Chrome Dipped's pace is comparatively subdued, relying on moodier sounds and textures to demonstrate their ferocity. The result is an engrossing display of rumbling rock'n'roll that calls to mind great Australian punk of the past while retaining its own identity. They haven't abandoned the aggression of previous records entirely — limbs will continue to flail when they play thrashier songs like 'Poison' and 'Fragrant Rice' live — but the evolved sound points to a new-found versatility that makes an already great band all the more compelling. For fans of: Fontaines D.C., Violent Soho, Radio Birdman From their ridiculous name on down to their stoner-friendly sound and gnarly live show, Psychedelic Porn Crumpets are essentially Perth's own King Gizzard & The Lizard Wizard. Similarly, their penchant for the absurd can seem easy to dismiss. But to do so is to miss out on a fun, fierce, satisfying listening experience. Instantly ranking among the group's best work, Carpe Diem, Moonman refines the band's extremes. The heavier moments crunch even harder — 'Another Reincarnation' and 'Weird World Awoke' are all fuzzy, face-melting riffs and hammering grooves — while the mellower passages excel at spacey atmospheres anchored by melody, such as 'Scapegoat' and 'Qwik Maff'. Meanwhile, headbanging spectacle and psychedelic ambience fuse on 'Out the Universe Pours'. For fans of: King Gizzard & The Lizard Wizard, Ty Segall, Frankie & The Witch Fingers Tune in to Double J for more great new music.
Yahoo
18-05-2025
- Entertainment
- Yahoo
PinkPantheress Talks ‘Fancy That' Mixtape, Learning From Tour With Olivia Rodrigo That She's ‘Not an Arena Artist'
'I don't like saying it in my accent,' PinkPantheress timidly says of her mixtape title, which was later revealed to be Fancy That, during her late March visit to Billboard. Rocking a plaid top dress, dark navy jeans and black flats that could've been on an Aeropostale mannequin circa '07, the U.K. native gushes about house artists like Basement Jaxx and early Calvin Harris influencing her nine-track mixtape. More from Billboard Queens of the Stone Age Announce 'Alive in the Catacombs' Concert Film, Album Amyl and the Sniffers, Royel Otis Lead Finalists for 2025 AIR Awards El Alfa Confirms Retirement With El Último Baile 2025 Farewell Tour Dates 'I feel like nobody's really tapped into these fully since the eclipse of [their] genre. I was like, 'Let me try to do it and see what I can do here,'' the 24-year-old says. 'Just because I'm such a fan of it and I was very inspired by it. I haven't felt really inspired in a long time.' Holed up in her London home, PinkPantheress got to work as the project began to take shape over the course of two months. After some back-and-forth file transferring and tinkering with producer aksel arvid, Pink's skittering production met her plush vocals while still maintaining her signature DIY raw experimentation. She dug through the crates while pulling on samples from the aforementioned Basement Jaxx to Panic! at the Disco and even Nardo Wick's 'Who Want Smoke??' for her most sonically potent work to date. 'I made something that kind of incorporated my two projects into one super project,' the Billboard Women in Music 2024 Producer of the Year adds. PinkPantheress is reserved yet charming in conversation as she opens up about learning she wasn't 'an arena artist' after touring with Olivia Rodrigo, being the subject of plenty of memes, her global crossover appeal and acting aspirations. How did you end up in Jack Harlow's 'Just Us' video? Jack messaged me and asked me if I could be in the video. I asked if I could hear the song and he was like, 'No, you can not.' I don't really do cameos or anything, especially not for bigger artists because I get worried and scared of public perception. But he was like, 'You need to trust me that I'll make you look cool.' Then I just did it and it was really fun. How did you get in the zone for this mixtape? What did you set out to do? I wanted to create a project that reflected my progress as a producer. I made something that kind of incorporated my two projects into one super project. I produced a lot of it in London in my house. I listened to a lot of U.K. music. A specific era, a lot of Basement Jaxx, a lot of Calvin Harris. I created the beats on my laptop and then I sent them to this producer I was working with from Norway called Axsel [Arvid]. We went back-and-forth and made the beats and I recorded really quickly. It was done in like two months. Being a perfectionist in the studio, do you have to go back in and tweak stuff or once it's done, it's done? Figuratively and physically and always literal, I am a tweaker. I am always going back and [asking], 'What can I do here that I want to change?' I was actually fairly chill on this project because the more you perfect something, for me as an artist, people definitely prefer when I sound more DIY and raw. So I was trying to keep it as raw as possible. I love how you flipped Nardo Wick's 'Who Want Smoke??' on 'Noises.' I love that song. I really like Nardo Wick and 21 Savage. I wasn't even trying to use it until I was writing my song. I was like, 'Oh, it would be cool to have a break in the beat where it's the bass going [hits table].' They do the same thing. I was like, I might as well pay homage and put his voice in it. I actually wonder if he's heard it and I wonder what he thought. He probably thought it was ass. I wanna know what he thinks. I wanna personally find out what he thinks. Obviously, it's drum and bass now. It's a whole different genre. What do you think about your crossover popularity? How do you gauge it as far as your fans in the U.K. and your fans in the U.S.? Even though my music is more genre-based in the U.K., I'd say I have more fans in America. I think in a weird way, the U.K. is more hip to drum and bass and the music I make, so me coming out after we've had a history of women that I'm influenced by — like Lily Allen and Imogen Heap, that's where they were most respected and adored. I'd say the majority of British people are more used to my sound, so it's probably not as much, 'Whoa, what is this!,' as Americans are. [American] People in general speak of me as more an innovator or pioneer, whereas people in the U.K. will celebrate the fact I've been able to cross over and get the features I have. America's just different. I feel like the internet has kind of united all nations. It's not as clear to me these days who's British and who's American, because the culture is the same amongst the internet. We all watch the same streamers and listen to the same music, so there's not much of a divide anymore. You're big everywhere these days. How does having hearing loss in one ear affect your creative process? I can't mix anymore. I struggle with the high end of some of the instruments. I have to get someone else to mix and master now, which I used to do myself. Will lead up to an album later this year, or does it exist in its own universe? I feel like it's [the latter]. I want it to exist, but it's weird because I feel like any body of work these days [is overlooked]. For me, personally, a body of work is a body of work. I'll call it something different, but realistically, I want it to do the same thing. I want it to impact the same — even though technically it's not an album, I still want to treat it as such. I saw a tweet going viral saying, 'u a boy turn that PinkPantheress off.' What do you think about that? The guys can't listen too? Everyone can enjoy my music. Honestly, I need those streams, so I'll take whatever gender you are. When you're making music, is it ever toward a specific gender? When I make music, I make music for people that look exactly like me. I'm not even just talking about being a girl. I make music for people that are East African, I make music for people that live in these cities who dress like me and have the same hairstyle as me. When I'm making music, I'm thinking of somebody that looks identical to me. I'm talking about the wig down to the clothes. Everything. I visualize myself listening to my music first before I think about anybody else. I literally am so at my demographic of fans. There's gamers, K-Pop fans, people that are full of themselves, street n—as and people who call themselves cutesy girls and emos. It's really such a reach of people. I never thought to myself, 'Oh, this is what my fans are gonna like.' When I go to my shows and I see a diverse crowd and different races, I'm very happy. I always felt when I was younger that I was always the only person of color in that room. I especially love having Black people in my crowd. It's so important to me, because when you're making drum and bass, people aren't expecting certain people to enjoy it. When I see those people there, I'm like, 'Yeah.' It got through. It's really cool to see. How was meeting André 3000? It was really brief, but really sick. I was in Paris, and it was coming out of the Alexander McQueen show. Oh my God, he was with Law Roach as well. I was like, 'Oh my God, this isn't real life.' I wasn't gonna take a photo with him, but my publicist was like, 'You need to do this for your future self.' It was very crazy. He didn't know who I was, which is perfectly fine, but just the fact he still stopped for a photo was really nice. I thought he was gonna be like, 'F–k off.' Him and his flute. I actually didn't come out with words like, 'Can I get a picture?' Just the fact that he was so willing. Someone like him doesn't need to stop. He was with Laura Roach, but they were by themselves, no security. I saw another photo of you at the Vivienne Westwood show at Paris Fashion Week next to Ice Spice and Chappell Roan. What are those conversations like? Was that the first time you've seen Ice in a while? It actually was. When we both up like, 'Oh my God, you're here, yay!' When you see someone you're friends with at one of these things, it's like being back at school and being sat next to your friend that you really have fun with, because it can be so daunting. That was the first time I met Chappell, and she's so nice and cool. She's really friendly. I actually think we're quite similar in those situations. Being at the Vivienne Westwood show front row is one of the most magical things ever. There are some elements that can make it really daunting. Then you have photographers fighting over stuff. No one's gagging to be part of that experience but at some point you have to get a bit stoic. I was definitely breaking into stoicness. Could we ever get another collab with Ice Spice? I'd do it for sure on the right song. What did you think about and DMing you? He's funny. I actually have met him twice now. He's a really huge fan. He's always at my shows. Whenever we're close to Atlanta, he's always coming. He's really cute and when that happened, I don't know what my reaction was. I was like, 'Is this a joke?' I was sure of it. I kinda feel like I knew about him before I saw a message, but he's a really funny guy. If your dad was Usher, I might do that, if I were a big fan of someone. I actually probably would. Usher's so sweet, too. I met him on FaceTime. You're very online and adept with online culture. Do you see a lot of these tweets and stuff about you going viral? Not always, but recently I've been really on top of it because I just downloaded Twitter. Only to speak with my group chats because that's where they are. Sometimes I scroll the timeline. I feel like I'm now part of these and I get jokes now. Whereas before, I felt like I was alone. How was opening up for Olivia Rodrigo, and what's one thing you've taken from her and incorporated? I did six or seven shows I think. It was definitely very difficult for me. I enjoyed it a lot — because, one I got to see her perform live, and she's amazing. She's an actual force. Watching her and how she combats an arena and how she actually does the arena, made me realize, 'Wow, some people are arena artists and some people are not.' I'm not an arena artist. That's something I learned about myself. What I learned from her is there are ways you can approach an arena and interact with people in the up theres or the far backs. She did that and is amazing at it. What happened when I watched her was, I saw my own failing and my own incapabilities, and I was like, 'I'm not an arena artist.' That's not for a lack of trying. It just made me realize there are some things in life as an artist you're told you should try one day — but for me, I think I'm one of those artists where I'm comfortable is where I always strive. When I'm pushed to do something because it's the right thing to do as an artist, because it's an arena, I feel like the opportunity is the most amazing thing I had and I'm so happy I did it. It made me realize like this whole thing is not for me to do. It's for powerhouses like her. I'm not a powerhouse artist, I'm very much on my chill s–t. I'm not a performance-based artist. So it made me realize that difference. It distraught me that there were any sufferings to that leg of the tour for her because of my shortcomings. I wish I could do have done it the whole way through, but I feel like I was gonna be detrimental to myself. It was interesting you said you learned that about yourself, not being an arena artist. I don't think I've ever heard an artist say that. I'm not an arena artist, I'm not a stadium artist. I feel like there's obviously ways I could make myself an arena artist. You can get the dancers, do the training, get the stage presence. I can go through training from now until two years later and see where I'm at. But I still don't think my music belongs in an arena. I think my music belongs in a more intimate setting. As an artist, I think my fanbase appreciates more intimate settings. Is there anything outside of music that you'd like to accomplish? I'd like to do acting one day. I'm really meek, so we'll see one day. I need to get more confident. What do you hope fans take from this mixtape? Sonically, I genuinely feel it's my best work, so I hope that is the most obvious thing to come out of it. I think my fans are kind of divided about what their favorite projects are. I feel like a lot of people prefer my first project, while a lot of people prefer my second. This is kind of like a blend of both. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
18-05-2025
- Entertainment
- Yahoo
Sleep Token Earns Debut U.K. No. 1 Album With ‘Even in Arcadia'
Sleep Token has secured its first U.K. No. 1 Album on the Official Albums Chart with Even in Arcadia (May 16). The masked metal band previously hit the No. 3 spot with their 2023 LP Take Me To Eden, and have three songs in this week's U.K. top 40 singles. In June, the band are poised to headline Download Festival in England for the first time, alongside Green Day and Korn. More from Billboard Sleep Token 'Even in Arcadia': All 10 Songs Ranked Morgan Wallen's 'I'm the Problem' Breaks Streaming Records on Spotify & Amazon Music in First Day Alex Warren Achieves Rare Chart Feat as 'Ordinary' Hits 9th Week as U.K. No. 1 Even in Arcadia has already made noise on a number of Billboard charts in the U.S., with two songs debuting at No. 1 on the Hot Hard Rock Songs ('Caramel' and 'Damocles'). The album hit No. 1 on Australia's ARIA Charts on Friday also. PinkPantheress achieves a career high with her new mixtape Fancy That, which ends the week at No. 3. The Bath-born songwriter and producer previously enjoyed success with 2021's to hell with it (No. 20) and 2023 release Heaven knows (No. 28). Speaking to Billboard, she discussed the creative process behind Fancy That. 'I wanted to create a project that reflected my progress as a producer. I made something that kind of incorporated my two projects into one super project. I produced a lot of it in London in my house. I listened to a lot of U.K. music. A specific era, a lot of Basement Jaxx, a lot of Calvin Harris.' Sabrina Carpenter's Short n' Sweet holds steady at No. 2, while Ed Sheeran's +–=÷× (Tour Collection) slips one place to No. 4. Indie heroes The Kooks have achieved their highest spot on the Official Albums Chart in 17 years with their seventh LP Never/Know which ends the week at No. 5. It joins their 2006 debut Inside In / Inside Out (No. 2) and 2008's Konk (No. 2) as top five finishers. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100
Vogue
14-05-2025
- Entertainment
- Vogue
PinkPantheress Won't Be Boxed In
'My name is Pink, and I'm really glad to meet you.' Those are the first words you hear on PinkPantheress's new mixtape, Fancy That—though you'd be forgiven for thinking you'd been introduced already. Since bursting onto the internet with her UK garage and jungle-infused SoundCloud tracks back in 2021, the 24-year-old has blossomed from a faceless bedroom producer to one of Britain's most exciting next-gen pop stars. Her breakout hit, 2022's cheeky kiss-off 'Boy's a Liar,' shot to number three on the Billboard Hot 100, while her accomplished 2023 debut album, Heaven Knows, served as a genre-bending rollercoaster ride through various genres of dance music, artfully paired with the musician's candyfloss vocals and lyrics that charted the emotional topography of young love—with a dash of winking British humor. Except, as PinkPantheress explains over Zoom from New York a few days before the mixtape's release, she's never really seen herself as a pop star. 'I'm not looking for stardom,' she says, her long French-tipped nails flicking back her fringe. 'I don't think that I fit that role, and I also don't think I can handle it.' Last year, as her stratospheric rise to popularity was peaking—she'd just won the Billboard Women in Music award for producer of the year, and been announced as a tour opener for both Olivia Rodrigo and Coldplay—she made the difficult decision to reel things back. 'I needed just to remedy myself a bit, and help myself feel better,' she says of pulling out of the tour dates and stepping away from the spotlight. It didn't take long, however, for the urge to make music to return. 'I ended up taking that break to home in on a specific sound,' she says. 'That's why I'm more excited, I'd say, about this release—because it's way more specific and way more in tune with what I wanted for myself.' So, on Fancy That, PinkPantheress is reintroducing herself. Not as an entirely different musician, exactly, but as PinkPantheress 2.0—a little more refined, and a lot more certain of herself. And it's certainly an impressive leveling up from her (already excellent) debut album. Over the course of the mixtape's nine tracks, PinkPantheress cycles through a head-spinning grab bag of references mined from the '90s and 2000s: the Underworld-sampling opener 'Illegal,' whose saucy double entendres could either refer to a secret romance or a beloved new drug dealer; the eerie 'Nice to Know You,' which samples William Orbit to create a deliciously strange hybrid of Burial and the Sugababes; or the superb album closer 'Romeo,' on which trip-hop rhythms are paired with exhilarating orchestral strings straight out of a Basement Jaxx house banger. (It turns out the duo behind Basement Jaxx spent a couple of sessions in the studio with PinkPantheress, and she also samples their track 'Romeo' on 'Girl Like Me.')
Yahoo
11-05-2025
- Entertainment
- Yahoo
Miley Cyrus Has Nothing ‘More to Lose' on ‘Emotional' New Single: Stream It Now
Miley Cyrus just unlocked a vulnerable new layer of her upcoming visual album Something Beautiful, dropping fourth single 'More to Lose' Friday (May 9) just a few weeks ahead of the LP. Singing over cinematic piano, guitars and strings, the pop star steps fully into the power of her voice on the new track. 'I knew someday that one would have to choose,' she belts introspectively. 'I just thought we had more to lose.' More from Billboard Miley Cyrus Reveals the Best Piece of Advice Dolly Parton Gave Her PinkPantheress Drops 'Fancy That': Stream It Now 'It's a Happy Time': Counting Crows Return With 'The Complete Sweets!' The ballad arrives after about a week of Cyrus teasing it on social media, eventually sharing a black-and-white preview of 'More to Lose' on her YouTube channel two days ahead of its release. In one clip posted to Instagram, the Grammy winner shared snippets of the song while describing how it came together in the studio. 'I tried to keep it a singular take,' she explained to followers, addressing the camera in an elegant black dress. 'It's really a song that's more of a story, and I never want that to be interrupted or overthought or chasing perfection. I never wanted 'More to Lose' to be perfect, I wanted it to sound beautiful and emotional.' Following 'Prelude,' 'End of the World' and Something Beautiful's title track, 'More to Lose' marks the fourth song fans have gotten to hear from the album ahead of its May 30 release. At a recent Spotify listening event in New York City, Cyrus revealed that she thinks the 13-track project is 'not only my best album, but also my gayest.' Listen to 'More to Lose' below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
