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Chart Displacement
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Every musician has a Signature Song; usually, this is related to how popular the song was during its prime, as measured by charts such as the Billboard Hot 100. However, this is not always the case. This can happen in multiple ways. Their best-known song wasn't their biggest hit, placing below songs that aren't as well-known or are even almost, if not completely, forgotten. That can happen in a variety of ways. The song wasn't well-known when it was released and became better-known later on through use in commercial media and/or retroactive acclaim. This is especially prevalent if the bigger hit was never that big a hit anyway and likely to fade into complete obscurity. The more famous song was controversial in some way, thus causing some stations not to play it or some vendors not to sell it to the point that this impacted its chart ranking. Often, the notoriety of the song is what keeps it in the public memory after its peak. The more famous song's peak position was impacted by low sales due to it having a limited or no single release, often to boost sales of its parent album. Many radio hits from the '90s were ineligible to chart on the Hot 100 without a physical single release. This practice by the record labels, which inadvertently robbed several artists of #1 singles just to boost album sales, ultimately resulted in Billboard being forced to change its own rules on "album cuts" charting on the Hot 100 in December 1998. This episode of Slate's Hit Parade podcast gives a detailed explanation of how and why this happened. Radio listeners who were fans of Casey Kasem's chart shows American Top 40 and Casey's Top 40 will notice a lot of discrepancy when comparing the chart counted down on any of his '90s shows to that same week's Hot 100. When he made the jump to a new syndication group in 1988 and started Casey's Top 40, he began using the charts from Radio & Records magazine instead of the Billboard Hot 100, and continued to use it when he returned to AT40 ten years later. That meant his show was immune to the above "airplay-only" business that made undeniable hits ineligible for the Hot 100. Likewise, that also meant that the chart on Kasem's show also included songs that were radio hits first and foremost, and didn't have enough momentum to get very high on the Hot 100. Rick Dees' competing radio countdown show and the 1980s music television series Solid Gold (which Dees briefly hosted) also relied on Radio & Records to determine which songs they played. Similarly, Bob Kingsley's Country Top 40 and American Country Countdown spent much of the 21st century relying on the country airplay charts of Mediabase 24/7 (Radio & Records' successor) instead of Billboard. The more famous song was never given a radio push, despite its popularity with audiences. The higher-peaking song had a high launch on the charts due to a strong debut sales week, but failed to have longevity and fell off the chart quickly. Alternatively, the lower-peaking song had a prolonged chart run and more people were exposed to it as a result. After the song peaked in airplay, it got less recurrent airplay compared to the lower-charting song. Thus, younger audiences are exposed to the lower-charting song rather than the higher-charting. The bigger song was a Black Sheep Hit, and thus feels out of place compared to their other work, which can cause limited recurrent airplay. This can also mean that fans of the band or singer actively avoid purchasing the song. Especially after the advent of iTunes this can have a big impact on a song's sales, even if it was popular in the year it came out. The bigger song came after their overall peak in popularity and thus is not as well-known compared to their material that was made in their prime. This is most common on format-specific charts (see below), where the high-peaking song came long after their success on the mainstream charts ended. The higher-charting song had its position augmented due to chart manipulation, while the better-known song achieved its peak naturally. The higher-charting song came during a period when the charts were unnaturally sparse and/or the lower-charting song came during a period when the charts were severely backed up with huge hits. The better-known song was not actually a single, but had some element to it that made it popular after the fact. During the album's promotion cycle, the first single ends up as the higher-charting for the novelty factor, but the follow-up (if not one of the follow-ups) ends up being the one that gets more recognized. The higher charting song was a comeback single for an already popular artist after a years-long hiatus, or was the first single from a highly anticipated new album. As a result it had a high chart peak due to fans who were excited to hear new music from their favorite act, but the song did not stick around in the general conciousness the way earlier and later hits by the same artist have. One of their most well-known songs is their highest-charting, but they had other less-remembered songs that charted higher than their other more iconic material. Often, this can be seen in a different era or album. This at times manifests with follow-up singles that chart high riding off a big hit, but end up not having lasting appeal. Format-specific. Their highest-charting song on one format, such as rock, country, or alternative, isn't as well-known as their other material, but it's averted on the mainstream chart. Songs that were a hit on such a format and don't cross over are likely to be forgotten quickly. Still, it's a surprise because usually it's the biggest home-format songs that become pop crossovers. The artist's main chart didn't exist when the song was released. The song crossed over and became a hit in the United States, but it was not their biggest hit back home. Like the format-specific example above, this is a surprise because usually the biggest international crossovers are their biggest hits in their native country. It's not uncommon for an international artist's biggest American hit to also become their best-known song back home, even if it wasn't their highest-charting song there, although sometimes their highest-charting homeland hit is their best known over there. First and Foremost. The song was later covered and outpeaked by a later artist, but despite this the original remains the most enduring. Covered Up. The original placed higher than the cover, but people still remember the cover better anyways. The reverse is very common, as listed above, but this is much rarer. A song is more associated with the featured artist than with the lead. Even if that song is their best-known song, it's not as associated with them as their other material (although that song can be still seen as the signature for the featured artist). Alternately, the song is associated with the lead, but the featured artist rapidly falls from popularity, taking memory of the song with them. An artist's solo career or side project scores a bigger hit than they ever did with their main career, but because the solo career/side project remains far less known than their main act, their biggest hit is lesser known. The more famous song may have been a Breakthrough Hit, but through more steady momentum, may have petered out a bit lower, while the subsequent higher charting song benefited from the momentum of the former, and the artist's recognition, to surge to higher chart success. The artist's music was primarily consumed using a medium that wasn't included in Billboard's chart algorithm until after their most well-known song peaked in popularity. The better-known song has a holiday theme, or has become associated with a holiday for some reason. These types of songs rarely make it on charts, but will become extremely well known through incessant replays by shops and radio shows. Contrast with One-Hit Wonder, where the artist's Signature Song was their only major hit. The two can overlap in some rare cases: either a well-known artist's only top 40 hit isn't as well-known as other songs of theirs, or an artist is actually only remembered for one song, but it wasn't their highest-charting. In extremely rare circumstances, an artist who only had one top 40 hit is remembered as a one-hit wonder for a different song. Usually this is because that song was used by a politician or a non-profit organization thus artificially increasing the song's popularity long after it fell off the charts. |
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Information Society have had three Billboard Top 40 hits. The first two are "What's On Your Mind (Pure Energy)" and "Walking Away". The third is not "Running", which, though a dance hit, never reached the Hot 100, but the now-forgotten "Think". | |
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During the 1978-1989 Bob Kingsley era of American Country Countdown, only once as a song failing to reach No. 1 ever been one of the top 10 songs of the year. That came in 1982, when Hank Williams Jr.'s iconic "A Country Boy Can Survive" was that year's No. 8 song, thanks largely to its three-week run at No. 2. note (ACC used the Billboard chart as its basis but during the 1980s compiled its own year-end chart. Several times in the 1990s a non-No. 1 song ranked in the top 10 for the entire year.) The 1978 year-end countdown, in contrast, did have two songs that peaked in the top 5 make the year-end top 20, which was increasingly rare by that time: "Middle-Aged Crazy" by Jerry Lee Lewis (a No. 4 hit that was the 20th-ranked song of the year) and "Hearts on Fire" by Eddie Rabbitt (which spent three weeks at No. 2 and was the 18th-ranked song of the year). In contrast, the official Billboard year-end publication was kinder to several songs during the 1980s than the ACC-compiled year-end countdown. The most notable non-No. 1 songs featured in a year-end's top 10 during the decade included two from 1982: Williams' "A Country Boy Can Survive" (at No. 9 for the year per the official survey) and then-newcomer George Strait's "If You're Thinking You Want a Stranger (There's One Coming Home)", at No. 8 for the year after peaking at No. 3 in mid-spring. note (The official Billboard listing of the top 50 country hits of 1982 showed 16 songs that did not reach No. 1 (all were top 10) making the list, in contrast to American Country Countdown, which had more than 40 former No. 1 hits listed in its top 50. Incidentally, Strait's first No. 1 hit, "Fool Hearted Memory", also from 1982, had a No. 15 year-end peak, below "...Stranger..." .) From 1985, a pair of summertime hits: Janie Fricke's "She's Single Again" (No. 2 during its run, No. 6 for the year) and "Falling In Love" by Sylvia (No. 3 originally, No. 9 for the year). In 1987, T.G. Sheppard's "Half Past Forever ('Till I'm Blue In the Heart)" peaked at No. 2 and was listed as the runner-up song of the year. In 1989, Conway Twitty had the third-ranked song of the year, "She's Got a Single Thing in Mind", which during its original chart run peaked at No. 2 that July. |
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Underworld's "Born Slippy .NUXX" only reached #27 on the dance charts, a position that they outpeaked six times. They had two songs that entered the Hot 100, but neither of them were "Born Slippy .NUXX", or anything else from their "Underworld Mk. 2" incarnation - they were "Underneath the Radar" and "Stand Up", both from their days as an 80's synthpop act. Averted in their native UK, where the formermost song was their highest-peaking at #2. | |
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3OH!3 had two songs that went Top 10. "Don't Trust Me" was, of course, one of them, but "Starstrukk" peaked at a measly #66. Their other hit was "My First Kiss" (featuring Kesha), which debuted high thanks to being released during the height of her fame, but has generally been forgotten. | |
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David Guetta had three #4 hits in the USA, but none of them were "Titanium", which peaked at #7. Those #4 hits were actually "Without You" (featuring Usher), "Turn Me On" (featuring Nicki Minaj), and "I'm Good (Blue)" (featuring Bebe Rexha); while "Without" and "Good" is definitely better-known than "Turn", they're mostly associated with their featured artists rather than Guetta himself. Guetta's 2015 collaboration with Minaj, "Hey Mama", is also much better-known than "Turn Me On" despite peaking four spaces lower. In the UK, he had six #1 hits, with four of them ("When Love Takes Over", "Sexy Bitch", "Titanium" and "I'm Good (Blue)") being some of his most popular songs. However, the other two ("Gettin' Over You" and "Lovers on the Sun") have been largely forgotten, especially compared to songs such as "Without You" (#6) and "Hey Mama" (#9). In his native France, he achieved five #1s, one of them being the well-known "Sexy Bitch". As for the other four, they weren't "When Love Takes Over" (#2), "Without You" (#6), "Titanium" (#3), "Hey Mama" (#6), or "I'm Good (Blue)" (#4). Rather, they were the relatively forgotten "Gettin' Over You", "Sweat", "Dangerous", and "This One's for You". |
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Daddy Yankee averts this overall, as "Despacito" with Luis Fonsi is his only #1, only top 10 and only top 20. Surely the closest he ever got to having another was "Gasolina", right? It was actually surpassed by "Rompe" and "Con Calma", neither of which are as well-known. | |
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Major Lazer's biggest hit in America is 2016's #2 "Cold Water". However, it only became a hit because it featured Justin Bieber, and thus, because it is primarily associated with Bieber instead of Major Lazer, it does not displace the #4 "Lean On" as their signature. Even then, it's not quite as well-known as "Lean On" overall, regardless of Bieber's presence, given that it was the bigger hit in most other countries and one of the most played songs of all time on Spotify. | |
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2012's biggest hit on Country Airplaynote Billboard split the country music charts into two versions in 2012: Country Airplay, which took the former chart's methodologies of only tracking radio airplay; and Hot Country Songs (the airplay chart's previous name), which factors in downloads, streaming, and social media, similarly to the Hot 100 was "Time Is Love" by Josh Turner, which only got to #2 on the weekly charts, but also benefited from an abnormally long chart run. Unlike "Love Like Crazy", however, it didn't prove to be one of Turner's bigger hits, and he had almost no career momentum afterward. Rating lower were "Springsteen" (#9), "Wanted" (#20), "Blown Away" (#32), and "Red Solo Cup" (#53). | |
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Violinist Lindsey Stirling's only Hot 100 entry is a cover of "Hallelujah" with Joy Enriquez that peaked at #81 but is otherwise forgotten. As such, it's not as well-known as "Crystallize", "Beyond the Veil", "Shatter Me", "Something Wild" or "Brave Enough". | |
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1982: While the year-end #1, Olivia Newton-John's "Physical", is still one of her most popular songs, it's not quite as iconic as four of the 80's most iconic tracks: Journey's "Don't Stop Believin'" (#73), Stevie Nicks' "Edge of Seventeen" (#100), Soft Cell's cover of "Tainted Love" (#11) and Survivor's "Eye of the Tiger" (#2). | |
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The Chemical Brothers only had one Hot 100 entry in America, the long forgotten "Setting Sun", which isn't nearly as well known as "Hey Girl Hey Boy", "Block Rockin' Beats" or "Galvanize". In the UK, they had two #1 hits, including "Block Rockin' Beats". The second wasn't "Hey Girl Hey Boy" or "Galvanize", both of which peaked at #3, but rather "Setting Sun". | |
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2010 was the first year in which the top country song according to Billboard Year-End did not peak at #1 on the weekly charts; namely, "Love Like Crazy" by Lee Brice. This song only peaked at #3, but benefited from an abnormally long chart run. Fortunately for Brice, it proved to be his Breakthrough Hit and one of his most popular in the long run. | |
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Disclosure is known in the U.S. mostly for 2012's "Latch", which became a hit in 2014 stateside after it was re-issued following the explosive rise of Sam Smith. It was their only hit in America, going up to #7. It's easy for Americans to imagine that as being their only success, given that its success there was mostly due to Smith's popularity than anything else. Back home, however, it actually wasn't their biggest hit, where it only reached #11 back when it actually was new. That honor goes to the #2 "White Noise" featuring AlunaGeorge. Additionally, "Latch" was also outpeaked by a single spot by "You & Me". Also, their second collaboration with Smith was 2015's "Omen", which failed to recapture the success of "Latch" only peaking at #64 stateside. However, they do have another song that's fairly well-known in the U.S. — "Magnets", their collaboration with Lorde. Despite not charting on the Hot 100, falling short at #102, it's probably better known than "Omen" due to it being their only success on alternative radio and for being another song featuring an artist much better known than them in the States. | |
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Eric Prydz generally averts this, as "Call on Me" was his biggest hit in most countries, and topped several European charts. But on the US Dance Club Songs chart, it only got to #29, and was outpeaked four times. Even more surprisingly, neither of these higher-peaked songs was "Pjanoo", which didn't even chart. | |
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Surely the biggest country hit of 1992 was Billy Ray Cyrus's inescapable "Achy Breaky Heart", right? Nope, according to Billboard it was "I Saw the Light" by Wynonna Judd; Billy Ray ranked #2 for the year. Of course, he had the biggest country hit on the Hot 100 that year. | |
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Avicii had two top 40 hits in America. One, of course, was his signature smash "Wake Me Up!" The other was "Levels", right? Wrong, #60; it was "Hey Brother," which was forgotten immediately after it fell off the charts and gets far less airplay as a recurrent than "Levels" despite the latter getting relatively little airplay upon its release. Averted in his native Sweden, where all three reached #1. In the UK, his two #1 hits were "Wake Me Up!" and... not "Levels" or even "Hey Brother", instead it was "I Could Be the One". |
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Passion Pit had two entries on the dance charts, one of them predictably being "Sleepyhead" which peaked at #11. If you guessed that the second entry was "Take A Walk", you'd be wrong: it was actually "Carried Away" which isn't as well-known. Even more surprising is that "Away" peaked at #5, higher than "Sleepyhead". Averted on the Hot 100 where "Walk" was their only entry. On Alternative Airplay, while "Walk" was the highest charter, "Sleepyhead" still didn't make the cut, with "The Reeling", "Lifted Up (1985)", and "Little Secrets", charting instead, despite all of them being completely obscure today. |
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2003 presents a real oddity. The top-ranking single of the year was "My Front Porch Looking In" by Lonestar, which barely eked out a single week at #1 late in the year — despite 2003 having had a myriad of singles that spent six to eight weeks at the top position each, such as "19 Somethin'" by Mark Wills (#3), "Have You Forgotten?" by Darryl Worley (#12), "Beer for My Horses" by Toby Keith and Willie Nelson (#2), and "It's Five O'Clock Somewhere" by Alan Jackson and Jimmy Buffett (#4). While "Have You Forgotten?" was an Unintentional Period Piece that gets virtually no airplay anymore, the others would certainly outpace "My Front Porch Looking In". "My Front Porch Looking In" also out-ranked far more better-remembered tracks such as Emerson Drive's "Fall into Me" (#36) and the Dixie Chicks' "Travelin' Soldier" (#48). | |
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1965: "Woolly Bully" beat out such iconic songs as "I Can't Get No Satisfaction" (#3), "Help!" (#7), "My Girl" (#10), "I Got You Babe" (#16), "Stop! In the Name of Love" (#20), and "Like a Rolling Stone" (#41). As you can see, 1965 is full of classic songs that are still well-remembered today, yet "Woolly Bully" is nowhere near the level of popularity of these songs. It was also the 1st song to top the year-end chart without topping the Hot 100, something that has only happened 3 times since.note The other years in which this happened were 2000 ("Breathe"), 2001 ("Hanging by a Moment"), and 2021 ("Levitating"). | |
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Tiësto's highest charter on the Billboard Hot 100 was "The Motto", a collaboration with Ava Max, which peaked at #42 in 2022. While it's still new, it remains to be seen if it will displace "Red Lights" (#56), "The Business" (#69), or "Adagio for Strings" (which never charted on the Hot 100, but is considered this for his Trance era) as his signature. | |
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1969: In the year when Woodstock was held, the biggest single of the year was "Sugar Sugar". While "Sugar Sugar" has been featured in many films & TV shows and is an iconic 60s bubblegum pop song, it's not quite on the level of songs like "Honkey Tonk Women" (#4), "Sweet Caroline" (#22) or "Proud Mary" (#19). | |
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Zedd's two biggest hits in the U.S. were the #7 "Stay", a song equally-credited to Alessia Cara, and the #5 "The Middle", a collaboration with Maren Morris and Grey. Whether or not either will become more well-known overall than his 2013 Breakthrough Hit "Clarity", a #8 hit, remains to be seen, but it's unlikely to be displaced as his signature, given that unlike on "Stay" or "The Middle", Zedd is the sole lead artist on "Clarity", and "Clarity"'s vocalist Foxes is much less famous than either Cara or Morris, with the former being a pop radio mainstay and the latter a big up-and-comer in country music. It also remains to be seen whether "Stay" and "The Middle" are recalled as Zedd's hits or those of their vocalists. | |
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1991: While the year-end #1, Bryan Adams' "(Everything I Do) I Do It for You", is still well-remembered, many would be surprised to learn Marky Mark and the Funky Bunch's "Good Vibrations" only made it to #20, behind much less-remembered songs such as Stevie B's "Because I Love You (The Postman Song)" (#12), Surface's "The First Time" (#9) and Hi-Five's "I Like the Way (The Kissing Game)" (#8). Also charting much lower was Bonnie Raitt's "Something to Talk About" (#78), Deee-Lite's "Groove Is in the Heart" (#91), Divinyls' "I Touch Myself" (#52) and R.E.M.'s "Shiny Happy People" (#100). | |
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Justice's signature "D.A.N.C.E." was their highest charter in the UKnote not counting "We Are Your Friends", which is credited to Justice vs. Simian and the closest they ever got the Hot 100 in the United States. In their native France however, it only hit #11 and was beaten by the #5 "Civilization", which is virtually unknown elsewhere. In fact, it probably doesn't even hold the distinction of being their second best-known song (that honor likely goes to the #88 "Waters of Nazareth"). | |
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2012: Gotye and fun. finished in the #1 and #3 spots with "Somebody That I Used to Know" and "We Are Young", respectively. However, both artists' popularity would quickly fall rapidly (with Gotye becoming a One-Hit Wonder and fun. disappearing into an "indefinite hiatus"), and as a result, neither song would have the same longevity as the likes of Carly Rae Jepsen's "Call Me Maybe" (#2), Maroon 5's "Payphone" featuring Wiz Khalifa (#4), PSY's "Gangnam Style" (#47), Carrie Underwood's "Blown Away" (#70), Flo Rida's "Good Feeling" (#16) and "Whistle" (#17), Drake's "The Motto" (#20), Taylor Swift's "We Are Never Ever Getting Back Together" (#33). One Direction's "What Makes You Beautiful" (which reached #10) was not the highest ranking song by a British Boy Band that year — that was The Wanted's mostly forgotten "Glad You Came", which was #6 that year. Given that 1D became by far the biggest new act of 2012 and a global musical phenomenon while The Wanted never had another hit stateside, it's no surprise the former song is far better remembered today on both sides of the Atlantic. | |
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Of The Human League's two US #1's, the first was their signature "Don't You Want Me". The second wasn't "(Keep Feeling) Fascination", which only made #8, but rather the R&B ballad "Human". | |
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2011 honors went to "Crazy Girl" by Eli Young Band. While it is their most famous song, Eli Young Band would not have the career longevity of artists they outranked, such as "Barefoot Blue Jean Night" by Jake Owen (#2), "You and Tequila" by Kenny Chesney and Grace Potter (#7), "Honey Bee" by Blake Shelton (#8), "Knee Deep" by Zac Brown Band featuring Jimmy Buffett (#12), "Country Girl (Shake It for Me)" by Luke Bryan (#16), "Don't You Wanna Stay" by Jason Aldean and Kelly Clarkson (#19), or "Dirt Road Anthem" also by Jason Aldean (#25). | |
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Groove Armada had two UK Top 10 hits, but neither of them were "At the River", "I See You Baby" or "Superstylin'", instead they were the far less remembered "Get Down" and "Song 4 Mutya". | |
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Icona Pop had two #1 hits on the dance charts. One of them must have been "I Love It"… right? Nope, it never made it past #25 there. The two #1s are "All Night" and "Emergency". Averted overall, since "I Love It" was their only Top 10 hit in the US, and by extension, their only entry on the Hot 100. | |
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1981: The year-end #1 was "Bette Davis Eyes" by Kim Carnes. While not completely forgotten, it still beat out iconic songs such as "Kiss On My List" (#7), "You Make My Dreams" (#43), "Urgent" (#37), "Stop Draggin' My Heart Around" (#59), "Whip It" (#94), and "Hit Me with Your Best Shot" (#46). | |
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In the UK, their only #1 was the track they did for Godzilla (1998), "Deeper Underground", which is frequently on setlists but not as well-remembered by casuals. | |
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1977: "Tonight's the Night (Gonna Be Alright)" by Rod Stewart was the year-end #1. While it is one of Stewart's memorable songs, it isn't quite on the level of popularity as ABBA's "Dancing Queen" (#12), the Eagles' "Hotel California" (#19), Hall & Oates' "Rich Girl" (#23), Debby Boone's "You Light Up My Life" (which didn't make the 1977 year-end list despite reigning at #1 longer than "Tonight's the Night" did, but did make it to #3 on the 1978 year-end list), Fleetwood Mac's "Dreams" (#39), Rose Royce's "Car Wash" (#26) and Heart's "Barracuda" (#53). | |
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The American Christian teen pop group Jump5 were popular with young Christians in the 2000s and were a staple of early-to-mid-2000s Disney projects, yet only managed one hit on the Billboard charts. Was it "Aloha, E Komo Mai"? Nope, it was the near-completely-forgotten "Wonderful", which reached #19 on the Christian CHR charts and #22 on the Christian AC charts. | |
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Tony Bennett had many bigger hits on the charts than his Signature Song "I Left My Heart In San Francisco", which only climbed to a modest #19. | |
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In 1973, Don Williams' single "Amanda" peaked at No. 33 during its original chart run, yet ranked as the fifth-biggest single of the entire year. This may be in part due to a much-longer chart run when paired with its double A-sided flip side "Come Early Morning," which peaked at No. 12. The two-sided hit had a 19-week chart run that spanned from late April to early September, and it was likely that the song, while hugely popular, never peaked in popularity at the same time everywhere, but the big picture showed a one of the year's most popular songs, and by a then-newcomer. | |
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2002: The year-end #1 was "How You Remind Me" by Nickelback. Within just a few years, their popularity would take a hit due to the backlash against Post-Grunge, and while "How You Remind Me" remains a iconic early 2000s song, it's not quite at the level of "Without Me" (#21), "Lose Yourself" (#63), "A Thousand Miles" (#6), "Complicated" (#11), "Can't Fight the Moonlight" (#56) or "Whenever, Wherever" (#28). | |
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