Benson Boone has landed his first No. 1 on the ARIA Albums Chart, as his sophomore LP American Heart debuts at the summit this week.

The chart-topping arrival follows the breakout success of Boone’s 2024 debut album Fireworks & Rollerblades, which peaked at No. 17 and spawned the long-running No. 1 hit “Beautiful Things.” That single remains a force on the ARIA Singles Chart, currently sitting at No. 8.

Boone leads a trio of top-five debuts on this week’s albums chart. Sabrina Carpenter’s Short N’ Sweet holds strong at No. 2, while English alt-rocker Yungblud lands at No. 4 with Idols — his fourth studio album and second Australian top-five entry.

The soundtrack to Netflix’s K-pop fantasy film KPop Demon Hunters opens at No. 5, powered by buzz around the fictional girl group HUNTR/X. According to ARIA, it’s the first animated soundtrack to reach the top five since Frozen 2 in 2019.

HAIM’s latest album I Quit debuts at No. 20, marking the trio’s fourth ARIA chart appearance. Their 2013 debut Days Are Gone peaked at No. 2, followed by 2017’s Something to Tell You (No. 4) and 2020’s Women in Music Pt. III (No. 7).

Meanwhile, Killing Heidi’s Reflector returns to the chart at No. 22 thanks to its 25th anniversary reissue. The ARIA Hall of Famers originally topped the chart for six weeks in 2000, and swept four ARIA Awards that year including Album of the Year.

On the ARIA Singles Chart, Alex Warren’s “Ordinary” holds firm at No. 1 for a 14th consecutive week — tying it with ABBA’s “Fernando” (1976) and Rosé & Bruno Mars’ “APT.” (2024-25) for third-longest reign of all time. If it claims a 15th week, it will match Ed Sheeran’s Shape of You for second place.

New at No. 3 is “Victory Lap” from Fred again.., Skepta and PlaqueBoyMax, marking Fred again..’s second top 20 entry and the first for both Skepta and PlaqueBoyMax in Australia.

Tinashe also returns to the top 10, as her Disco Lines-assisted “No Broke Boys” remix rockets from No. 20 to No. 9 in its second week.

After more than a decade away from the top 40 of the Billboard 200 albums chart, The Beach Boys return to the region, as the greatest hits set Sounds of Summer: The Very Best of The Beach Boys jumps 52-14 on the June 28-dated chart. The album’s surge up the list follows the passing of the band’s Brian Wilson on June 11 at age 82.

Sounds of Summer was released in 2003 and initially debuted and peaked at No. 16 on the June 28, 2003-dated chart. This week, the set climbs to a new peak – No. 14.

The Beach Boys were last in the top 40 of the Billboard 200 chart in 2012 when the then-new studio album That’s Why God Made the Radio debuted and peaked at No. 3 and spent four nonconsecutive weeks inside the top 40.

In total, The Beach Boys have placed 56 albums on the Billboard 200, with 22 of them reaching the top 40.

Sounds of Summer is available in a standard 30-track edition and an expanded 80-track edition. All 30 of the songs on the standard version were top 40-charting hits on the Billboard Hot 100 chart, of the total 35 top 40s the group earned between 1962 and 2022. Songs on the standard edition include the No. 1s “I Get Around,” “Help Me, Rhonda,” “Good Vibrations” and “Kokomo,” alongside familiar favorites such as “Surfin’ U.S.A,” “California Girls” and “Wouldn’t It Be Nice.”

Sounds of Summer also makes its debut on Billboard’s Top Streaming Albums chart, bowing at No. 20.

If he had only composed the unforgettable instrumental theme from Mission: Impossible, Lalo Schifrin would be fondly remembered. But the Argentine native had a seven-decade career that made him one of the premier composers in both film and television. Schifrin died Thursday (June 26) at age 93.

Schifrin received 19 Grammy nominations spanning 40 years (1962-2002) and multiple genres (both jazz and pop) and skillsets (composition, arrangement and performance). He won four Grammys.

Schifrin received four Primetime Emmy nominations – three for Mission: Impossible and one for his music for David Wolper’s The Making of the President 1964. He received six Oscar nominations, five for scores (Cool Hand Luke, The Fox, Voyage of the Damned, The Amityville Horror and The Sting II) and one for a song, “People Alone” from The Competition (1980), which he co-wrote with lyricist Will Jennings.

Schifrin never won a Primetime Emmy or an Oscar in competition, but in 2018 the Motion Picture Academy awarded him an Honorary Oscar “in recognition of his unique musical style, compositional integrity and influential contributions to the art of film scoring.”  He was just the third film scorer to receive such an award, following Alex North (1985) and Ennio Morricone (2006). A fourth film scorer, Quincy Jones, was awarded an Honorary Oscar posthumously last year.

Schifrin’s Honorary Oscar was presented by Clint Eastwood, for whom Schifrin had scored many films, from Coogan’s Bluff (1968) to The Bridge of San Luis Rey (2004). Their work together included the iconic 1971 film Dirty Harry and its four sequels.

“I am very honored by this distinction that touches me profoundly,” Schifrin said in accepting the award. “My love and appreciation for motion pictures started very early in my life. I remember when I was five years old my parents took me to see a movie, a horror movie, and at that moment I realized that without music it wouldn’t be so scary. And it’s true. I have been fortunate to have the opportunity to work with great, outstanding directors, producers, and talented musicians in the creation of musical scores to support their projects. … Composing for movies has given me a lifetime of joy and creativity. Receiving this Honorary Oscar is a culmination of a dream. It is a ‘mission accomplished.’”

For all he accomplished, Schifrin’s Mission: Impossible theme is unquestionably his greatest hit. His music for that drama series, which aired on CBS from 1966-73, brought him two Grammy Awards, three Primetime Emmy nominations and high placements on the Billboard charts.

His “Mission-Impossible” theme reached No. 41 on the Billboard Hot 100 in January 1968. It won a Grammy for best instrumental theme in 1968 and was voted into the Grammy Hall of Fame in 2017.

Schifrin’s M:I score brought him a second Grammy in 1968 – best original score written for a motion picture or a television show. In the latter category, Schifrin bested scores from four feature films, which is highly unusual for a TV project, then or now. Schifrin’s album Music From Mission: Impossible reached No. 47 on the Billboard 200.

Schifrin told the New York Post in 2015 that the M:I theme came to him very quickly. And he said he composed it without seeing any footage from the show.

“Bruce Geller, who was the producer of the series, put together the pilot and came to me and said, ‘I want you to write something exciting, something that when people are in the living room and go into the kitchen to have a soft drink, and they hear it, they will know what it is. I want it to be identifiable, recognizable and a signature.’ And this is what I did.”

The theme transferred to the long-running film franchise starring Tom Cruise (who is slated to get his own Honorary Oscar in November.) Adam Clayton and Larry Mullen Jr. of U2 recorded Schifrin’s composition for the first M:I film in 1996. Their version reached No. 7 on the Hot 100 and was nominated for a Grammy for best pop instrumental performance – where it competed with Schifrin’s own new rendition of the theme which he recorded with the London Philharmonic Orchestra. (Both lost to Béla Fleck & The Flecktones’ “The Sinister Minister.”)

Schifrin’s highest-charting album on the Billboard 200 was a 1962 studio album, Bossa Nova – New Brazilian Jazz, which reached No. 35.

He won his first two Grammy Awards in 1965 and 1966 for “The Cat” and “Jazz Suite on the Mass Texts,” both of which were voted best original jazz composition.

Schifrin also wrote the pitch-perfect theme song for Mannix (also produced by Geller), which helped that Mike Connors P.I. series stay on the air for eight years (one year longer than M:I). His other TV themes include The Man From U.N.C.L.E., Medical Center, Starsky & Hutch, T.H.E. Cat and Petrocelli.

His other film scores, not already named, include The Cincinnati Kid, Bullitt, Enter the Dragon and all three Rush Hour films.

Born Boris Claudio Schifrin on June 21, 1932, Schifrin was a second-generation musical talent. His father was the concert master for the Buenos Aires Philharmonic for more than three decades. The younger Schifrin began playing piano at the tender age 5. When he was about 16, his classmates turned him to jazz records, and he was hooked for life.

He studied music and law for four years at the University of Buenos Aires, and received a scholarship to the Paris Conservatory of Music in 1952.  In 1956, Schifrin returned to Buenos Aires, formed his own jazz band and became active writing music for TV and radio programs.

Schifrin arrived in New York City in 1958. He reconnected with early mentor Dizzy Gillespie in 1960, and worked on Gillespie’s hit album, Gillespiana, which brought both musicians Grammy nominations – Gillespie for best jazz performance – large group (instrumental) and Schifrin for best original jazz composition. Around the same time, Schifrin also arranged jazz albums for the likes of Stan Getz and Sarah Vaughan.

Inspired by the success of such film composers as Henry Mancini and Johnny Mandel, Schifrin moved to California in 1963. He landed his first Oscar-nominated score, Cool Hand Luke, just four years later.

Schifrin also conducted several of the world’s top orchestras, including those in London, Vienna, Los Angeles, Israel, Mexico City, Houston, Atlanta and Buenos Aires.

In 1987, he was appointed musical director for the Paris Philharmonic Orchestra, which was formed for the purpose of recording music for films. He held the post for five years.

Schifrin received the BMI Lifetime Achievement Award in 1988 and received a Trustees Award at the Latin Grammys in 2017.  He was a Lifetime Achievement honoree at the Society of Composers & Lyricists (SCL) Awards.

He is survived by his wife, Donna; sons Will, a TV writer (The Fairly OddParents), and Ryan, a writer-director (Abominable); a daughter, Frances; and four grandchildren.

Chuy Montana’s story began at the border — but his voice carried far beyond its lines. Found busking with his guitar for traffic-bound listeners at the Tijuana-San Ysidro crossing, Jesús Cárdenas (real name) was discovered by JOP of Fuerza Regida, whose belief in Chuy’s talent led to him signing the young artist to Street Mob Records in 2023. It was a moment that would propel Montana into the booming international Mexican music scene.

But on February 7, 2024, just as his music was beginning to flourish, Chuy Montana was found murdered in Tijuana. He was only 23 years old. Now, nearly a year and a half later, his voice emerges again.

On Thursday (June 26) night, Street Mob Records releases Montana’s posthumous debut album: No Fue Suerte, an 11-track collection featuring collaborations with some of the most buzzworthy names in regional Mexican music today, including Fuerza Regida, as well as Calle 24, Clave Especial, Armenta and more. With the help of Street Mob, the project was completed in close collaboration with Montana’s family.

“This has been the most [unique] type of project I’ve ever worked — the most challenging, but also the most rewarding,” Cindy Gaxiola, VP of commercial affairs at Street Mob Records, tells Billboard Español. “When you’re sitting there playing music for Chuy’s mom, and she’s taking it in and expressing her emotions — that was definitely a learning process for me, in a very positive way. So it’s rewarding to know that all of those emotions, all of that work, finally gets to be heard.”

The project features never-before-heard recordings that showcase the full breadth of Chuy Montana’s artistry: from corridos bélicos that confront life’s raw truths (“No Fue Suerte”), tender ballads steeped in emotional honesty (“Mamá”), and pensive tracks that showcase the creativity of a young artist finding his voice (“Qué Será”).

The album represents a community effort, largely featuring artists within the Street Mob Records roster, all of whom shared close ties with Montana. Most of the collabs were recorded over the artist’s voice after his death.

Two songs feature collaborations with hitmakers Fuerza Regida. “JOP was very involved in the creative process,” Gaxiola says. “He wanted to know where the album stood and get everything as close as possible [to finished]. He decided to jump on ‘Fama’ with Güero X, but as we continued mixing, mastering, and finalizing, he said, ‘You know what? I want to jump on another song.’ That’s how he ended up joining ‘Sin Chingarme a Nadie.’”

Montana’s friendship with Güero X helped to shape the album’s direction and ensure Chuy’s voice was centered, mentions Gaxiola. “Güero was the one that also took a really good lead on this project, in terms of helping us gather the music and a bridge between us and the family since the beginning,” she adds.

“Calle 24 was already on one of the songs because they were friends,” she explains. “When it came to Clave Especial, who’s at such an exciting point in their career, their response was immediate: ‘Of course, what an honor for us to be a part of it.’” Both Calle and Clave are featured on track “Cuadros Peruanos.”

Other collaborators, like songwriter Armenta, joined at the request of Montana’s family for the steel-string guitar-laden “De Tijuana a París.” “Armenta asked if he could change some of the lyrics,” Gaxiola recalls. “And the family gave him their blessing because they wanted his voice and his touch to shine on the track. Everything about this project was very organic.”

At the heart of the album lies Montana’s ability to transport listeners into emotional, often visual worlds. His lyrics blend confessional candor with poetic imagery — a talent that stands out most on the album’s eerily foreshadowing focus track, “Perdón Mamá.” Featuring Juanpa Salazar and menacing accordion riffs, the song opens with the chilling lines: “Perdón, mamá, no fui lo que quisiste/ Yo se que ahorita tú te encuentras triste/ Mi cuerpo ahí estaba tirado, el charco rojo, empapados” (“Forgive me, mom, I wasn’t what you wanted/ I know that right now you’re feeling sad/ My body was lying there, the red puddle, soaked”).

“When you listen to the album, you can visualize everything that he’s singing,” Gaxiola says. “That’s what makes listening to it so hard — yet it shows just how great of a storyteller he was. Even though he hadn’t lived some of these stories, you could feel how much he understood them.”

“Every note, every word on this album carries Chuy’s spirit,” shares a family member in a press release. For Montana’s relatives, the album’s completion offered not just a chance to celebrate his work, but also a moment of healing.

Street Mob Records also honored the family’s grief by organizing a private trip in Mexico’s Caribbean coast where 16 relatives gathered to hear the finished product for the first time. “They all had Chuy’s merch, were wearing it that night,” Gaxiola says. The trip created a space for connection and reflection. “This project wasn’t just about music — it brought people together, from the artists to our team and his family.”

For fans, Montana’s debut album offers the bittersweet promise of what could have been — a glimpse into a rising star whose stories resonate even beyond his years. “I hope fans listen to it with an open heart,” Gaxiola adds. “We’re all just excited for everyone to give this album the time and respect [it deserves], and for Chuy’s legacy to continue to live on.”

Chuy Montanta’s No Fue Suere pre-save link is available here.