Luke Combs earns his fifth No. 1 on Billboard’s Top Country Albums chart as The Way I Am debuts at the top of the list dated April 4. The set is Combs’ sixth full-length studio project and launches with 101,000 equivalent album units earned in the United States from its March 20 release through March 26, according to Luminate. It concurrently opens at No. 2 on the Billboard 200.

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Meanwhile, the debut helps push Combs’ “Days Like These” into the Hot Country Songs top 10 for the first time as it rises 11-9 on 5.2 million streams, 23.6 million in radio audience and 2,000 in sales, becoming his 27th top 10. The move gives him three simultaneous top 10 titles, part of a broader surge that places 14 of his songs on the chart.

The total marks one of the largest same-week showings of Combs’ career, trailing only his peak of 16 titles in November 2019 sparked by the release of his What You See Is What You Get and standing among the stronger multi-entry weeks in the chart’s history, even as streaming-era highs — led by Morgan Wallen — have pushed totals well beyond 20.

Combs’ tracks making this week’s Hot Country Songs chart are:

  • No. 2, “Sleepless in a Hotel Room”
  • No. 4, “Be by You”
  • No. 9, “Days Like These”
  • No. 11, “Rethink Some Things”
  • No. 29, “I Ain’t No Cowboy”
  • No. 34, “Wish Upon a Whiskey”
  • No. 36, “Soon as I Get Home”
  • No. 37, “Giving Her Away”
  • No. 39, “Daytona 499”
  • No. 45, “The Way I Am”
  • No. 46, “Alcohol of Fame”
  • No. 47, “My Kinda Saturday Night”
  • No. 48, “Miss You Here”
  • No. 50, “15 Minutes”

Combs’ other Top Country Albums leaders are 2022’s Growin’ Up, 2019’s 37-week No. 1 What You See Is What You Get, 2019’s EP The Prequel and 2017’s 50-week ruler This One’s for You. His albums have spent a combined 89 weeks at No. 1, placing him in eighth place for the most, behind Wallen (228), Garth Brooks (173), Alabama (125), Willie Nelson (107), Taylor Swift (101), Kenny Rogers (99) and Shania Twain (97).

As The Way I Am opens at No. 1 and fuels another strong week across Hot Country Songs, Combs continues to show that his success is just as much about consistency as it is about big moments.


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Ambrosia keyboardist Christopher North has died at 75. The death of the co-founder of the 1970s/’80s yacht rock band best known for a string of Billboard Hot 100 top 5 hits including 1978’s “How Much I Feel, and 1980’s “Biggest Part of Me” and “You’re the Only Woman (You & I),” was confirmed by the group in a Facebook post on Monday (March 30).

“Fans of Ambrosia, we honor the legendary life and career of our dearest family member Christopher North, the ‘Hammond B3 King’ whose sonic architecture defined a generation of progressive and soft rock. A founding member since 1970, he was a keyboard wizard who brought an unmatched intensity and emotional depth to every performance,” they wrote.

“We will always remember ‘Northwind’ for his fiery, ‘intense’ stage presence — a legacy that began when he was first discovered playing in a dimly lit room, his organ topped with a bottle of wine. Even as he faced health challenges in recent years, including a brave and successful battle with throat cancer, his spirit remained tied to the music and the fans he loved.”

At press time no official cause of death had been revealed. Back in October 2025, lead singer David Pack sent well wishes to North — his friend since their late teens — after he reported that the band’s co-founder was recovering after being struck by an “out of control speeding car while walking into a restaurant.” At the time, Pack said North was “fighting for this life” after “bravely surviving cancer.”

Born in San Francisco on Jan. 26, 1951, North played in a series of high school bands before forming Ambrosia in Los Angeles in 1970 with singer/guitarist David Pack, bassist Joe Puerta and drummer Burleigh Drummond. The group released their Grammy-nominated self-titled debut album in 1975, which included the soft prog rock opening track “Nice, Nice, Very Nice,” featuring lyrics cribbed from a poem in Kurt Vonnegut’s postmodern 1963 sci-fi novel Cat’s Cradle; the album reached No. 22 on the Billboard 200 album chart and the song made it to No. 63 on the Hot 100.

Like their debut, 1976’s Somewhere I’ve Never Travelled toed the line between layered Beach Boys-like vocal harmonies, prog rock flourishes and gentle melodies, peaking at No. 79 on the Billboard 200. North’s keys and backing vocals helped anchor the band’s third studio album, 1978’s Life Beyond L.A. — their album chart peak at No. 19 on the Billboard 200 — and their fourth, breakthrough effort, 1980’s One Eighty. It was an apt title given the group’s shift into a more radio-friendly pop sound on such hits as “Biggest Part of Me” (No. 3 on the Billboard Hot 100) and “You’re the Only Woman (You & I)” (No. 13) on the LP that scored three Grammy nominations, including best pop vocal group; the album peaked at No. 25 on the Billboard 200.

The group’s final album, 1982’s more prog-leaning Road Island, only managed to reach 115 on the Billboard 200 chart and spawned just one charting single, the bouncy pop tune “How Can You Love Me,” which topped out at No. 86 on the Hot 100.

Ambrosia broke up in 1982 and then reunited in 1989 with all four original members. The have continued to tour ever since, with North stepping aside for a period in 2024 to get treatment for throat cancer.

In their tribute to North the band wrote that the legendarily intense keyboardist’s work, “did more than just fill airwaves; it created ‘aural landscapes’ that balanced virtuosity with soulful, radio-friendly hooks. We celebrate a true craftsman of the classic rock era whose lush piano lines and soaring organ swells will remain timeless. He was truly one of a kind, and loved dearly by his fans and bandmates.”

Check out some of North’s work in Ambrosia below.


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Our 2006 Week just kicked off on Billboard with the publishing of our staff’s 100 Best Songs of 2006 list, counting down the finest songs across the spectrum of 2006 popular music — from hyphy to emo to ringtone rap to Disney pop to Grey’s Anatomy rock and everything in between. The list is just the beginning of a week’s worth of 2006-themed content on Billboard.com, which will also include plenty of interviews, essays, videos and (of course) podcasts on the most interesting, enduring and sometimes largely forgotten artists, stories and music of 20 years ago.

On this bonus episode of the Greatest Pop Stars podcast, host Andrew Unterberger is joined by Billboard charts senior analyst-writer Eric Frankenberg, as we dive into the staff top 100 list — as well as the official Billboard charts year-end Hot 100 — to make what we can out of 2006 pop stardom on the whole, and how it’s reflected (or not) in our editorial picks for the year’s best songs.

Along the way, we answer all the most pressing 2006-related questions: Does the past 20 years of Justin Timberlake cut into our belief in his ability to bring sexy back? Was this a year of triumph or of adversity (or both) for Beyoncé? Has Gnarls Barkley’s “Crazy” faded or risen in esteem over the years? Can Carrie Underwood’s “Before He Cheats” survive weekly karaoke play for an entire year? Was “Tim McGraw” Taylor Swift’s first classic, or just her first song? What was with all the white guys with pianos? And perhaps most importantly: What the hell even was pop music in 2006, really?

Check it out above, and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!

And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:

Transgender Law Center

Trans Lifeline

Destination Tomorrow

Gender-Affirming Care Fundraising on GoFundMe

Human Rights Campaign – In Your Area

Fugees’ The Score album turned 30 in February, and Wyclef Jean stopped by The Jennifer Hudson Show on Tuesday (March 31), where the Fugees cofounder teased unreleased music on the way from the Grammy-winning group.

Wyclef wants to give fans a look inside their creative process surrounding The Score, as the Haitian artist hinted at a series of “outtakes” and “freestyles” in the vault from the mid-’90s that were left on the cutting room floor.

“One of the things I think that’s cool is some of the unreleased Fugees material. We have a lot of outtakes and at times we went in and tried a few records and I think fans will enjoy some of the outtakes and some of the freestyles that happened,” he explained. “I think celebrating it like that, we’ve been having conversations, I think it would be pretty amazing.”

The Score arrived in February 1996 and served as the Fugees’ second and final album. The project debuted atop the Billboard 200 and won best rap album at the Grammy Awards in 1997. The Score is powered by standout tracks such as “Ready or Not,” “Killing Me Softly,” “Fu-Gee-La” and “No Woman, No Cry.”

Perhaps Lauryn Hill and Wyclef Jean will have new Fugees music to bring with them across the pond, as Ms. Hill’s Diaspora Calling! will be joining the U.K. festival circuit this summer. The festival is set for Aug. 7 and will be taking over Milton Keynes National Bowl in England, which boasts a capacity of 65,000. Wyclef Jean will be joining Ms. Hill in the U.K., as well as YG Marley and Zion Marley. Tickets for the festival went on sale on Tuesday (March 31).

Watch Wyclef Jean tease the unreleased Fugees music on The Jennifer Hudson Show below.


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RM protects the family. In a cinematic new teaser for BTS‘ “2.0,” the band leader appears to channel a serious boss from the 1970s.

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Posted Tuesday (March 31), the 30-second preview opens with a noisy group of men crowding a dim hallway when an elevator opens its doors. A hush falls over the crowd as they see the well-dressed people standing inside — BTS, presumably, although viewers never see anyone’s face aside from RM.

The camera then locks in on the leader, rocking a slick ’70s hairstyle and aviators as he stares intimidatingly at the outsiders.

“Kim Namjoon is on next level … Totally mafia’s vibe,” one ARMY wrote in the comments on YouTube, while another person wrote, “RM is looking like a typical Villain from K drama.”

“2.0” is one of 14 tracks — and presumably the next single — from BTS’ new album, ARIRANG. The teaser comes just one day after lead single “SWIM” debuted at No. 1 on the Billboard Hot 100, while the album topped the Billboard 200 after earning 641,000 equivalent album units in its first week, according to Luminate.

Also on Tuesday, BTS shared a live performance video for “SWIM,” aptly singing the track at an indoor pool while still wearing tailored suits, which have become an aesthetic staple in the ARIRANG album era. In April, the Bangtan Boys will embark on a global stadium tour in support of the LP, which comes six years after they last dropped a full-length (2020’s Be, which also topped the U.S. albums chart).

Check out the teaser for “2.0” below.


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In honor of late musical legend and environmental advocate Bobby Weir, the Music Sustainability Alliance has today (March 31) announced the introduction of the Bobby Award. This award will acknowledge individuals and organizations in the music industry whose work advances environmental responsibility and climate action.

The first of these awards will be presented at the Music Sustainability Summit on April 14 in Los Angeles. The award is presented with the support of the family of the musical legend, who passed away on January 10 at age 78.

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“Bobby always strived to leave nothing but bare footprints on the Earth,” the Weir family says in a statement. “If it was helpful to the planet, animals, or others, it was always a yes for him. He spent decades encouraging the music world to consider its impact on the land, the climate, and future generations. We appreciate the opportunity to support MSA as it recognizes leaders carrying that spirit forward.”

Music Sustainability Alliance co-founder and CEO Amy Morrison added, “Bobby Weir has long demonstrated how music can inspire care for the planet, and we’re honored to have the support of the Weir family to recognize the innovators and leaders transforming the music industry and turn that spirit into real environmental progress. We hope the awards will shine a spotlight on the people across the music ecosystem who are proving that sustainability and creativity can move forward together.”

Award nominations are currently being solicited from the MSA community of artists, venues, crews, vendors, labels, promoters, managers and platforms, in addition to the Weir family and other close associates. The honoree will be selected by a judging committee made up of a Weir family representative and music industry sustainability leaders including Morrison, Joel Makower, Rev Lennox Yearwood Jr. and Kurt Langer. Award criteria includes the impact, influence and innovation of the work along with an established commitment to advancing sustainability across the music industry through education, collaboration and measurable action.

See the complete program for the 2026 Music Sustainability Summit here.

Weir was a longtime environmental activist, using his position as a founding member of the Grateful Dead to push for environmental protections for rainforests and other wild lands. Over the years, he worked on these issues with agencies including the United Nations, Greenpeace and the Rainforest Action Network.

“The timber barons and extractive industries have had their way with our national forests for long enough,” Weir wrote in a 1992 op-ed for the New York Times that opposed legislation allowing for the clear-cutting Montana forests (and which was written under the byline “Robert Weir”). “Our ancient forests of the Northern Rockies don’t belong to industrialists. They belong to the children, to the future, to the earth itself.”


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“Obviously, as a St. Paul person, I wish it was ‘The Streets of the Twin Cities,’” says Marta Shore of Bruce Springsteen’s “Streets of Minneapolis” with a sly smile. The St. Paul, Minnesota, resident is mostly joking; she has no beef with the Boss, but does point out that President Donald Trump’s ICE surge in Minnesota has affected residents of the wider Twin Cities metro area.

The college biostatistics lecturer was, however, impressed with Springsteen for releasing a “very real” protest song just four days after the killing of Alex Pretti, a 37-year-old intensive care nurse for veterans who was shot and killed by ICE agents in Minneapolis on Jan. 24. That incident came less than three weeks after an ICE agent shot and killed 37-year-old mother Renée Good in Minneapolis. The federal government and the Trump administration raced to portray both slain U.S. citizens as domestic terrorists, despite video footage and eyewitness accounts telling a different story.

“(His song) was so timely. It wasn’t, ‘Let me stick my finger up and see which way the wind is blowing, and then run it through my publicist,’” muses Shore, whose son lives six blocks from where Pretti was killed and has been active in her community’s mutual aid efforts to assist families impacted by ICE (she also keeps a whistle in her purse and car to let locals know if ICE agents are nearby). “It was a powerful thing. It was, ‘I’m acknowledging you are in pain, and there is a villain here. There are people doing harm.’”

“It paints a picture of exactly what we saw,” says Marta Simpson, a Minneapolis resident active in mutual aid efforts for affected families, of the folk-rock song. “He talks about the streets by name: Nicollet Avenue, that’s just a few blocks over,” notes the kindergarten teacher, who has participated in a few protests and whistle-toting patrol shifts. “It felt like such a deeply personal thing to us as Minnesotans.”

Neither Shore nor Simpson consider themselves huge Springsteen fans, but both teachers are headed to Minneapolis’ Target Center on Tuesday (March 31) evening to see the rocker for the first time as he kicks off his Land of Hopes and Dreams American Tour. Shore is accompanying a “diehard” friend (“she vacationed in Asbury Park”) while Simpson and her sister — who was also active in anti-ICE mobilization — are attending thanks to a “rage buy” from their father. He lives in Colorado but purchased tickets to the Minneapolis tour kickoff to support Springsteen after Trump attacked the outspoken New Jersey rocker. “My dad loved that Bruce wrote that song.”

Springsteen gave “Streets of Minneapolis” its live debut at famed local venue First Avenue (where much of Prince’s 1984 film Purple Rain was shot) during Tom Morello’s Jan. 30 fundraiser for the families of Good and Pretti. At the flagship No Kings Rally on Saturday (March 28) in St. Paul, Springsteen performed “Streets of Minneapolis” for just the third time ever on the lawn of the Minnesota State Capitol. The Rock & Roll Hall of Famer wasn’t the only one playing his protest song at the 100,000-person strong rally, however: Thirteen-year-old Zeke Scott was strumming it on his acoustic guitar in the lead-up to the main event, which also featured Joan Baez, Maggie Rogers, Tom Morello, Sen. Bernie Sanders and Jane Fonda.

“When I heard the song, it brought up some feelings,” says the young musician, who learned to play it in one day. “A lot of the songs I listen to that are more protest-y don’t go specific. Bruce Springsteen went very specific with what happened. Me and my mom were really into it.”

“It’s no longer an issue of what the old people think or what the young people think,” says Campbell Casper, who traveled two hours from his college in Winona, Minnesota, to attend the No Kings Rally in St. Paul. “It’s one mission. It’s nice to have an older person feeling like they’re giving us the torch,” he says of the 76-year-old artist’s “Streets of Minneapolis.” “This isn’t the problem of yesteryear; we’re going to have to keep fighting.” Casper, who thinks what Trump is doing to the country is “royally f—ked up,” adds it’s “awesome” to see an artist like Springsteen, “who makes such good music,” speaking out.

“Everybody knows Bruce Springsteen,” says St. Paul resident Breanna Vandellen of the 20-time Grammy winner. “Having people with a huge platform like that speak out about these things can really help. It can feel isolating sometimes holding these views.”

Nearly everyone interviewed for this story was quick to point out that while they appreciate celebrities drawing attention to the ICE surge in Minnesota — which, aside from the killings, has terrorized local families and seen U.S. citizens dragged out of their cars, detained and beaten seemingly without provocation — it is the local protests and grassroots mobilization efforts that give them the most hope and sense of camaraderie.

Shore felt the Jan. 23 Day of Truth & Freedom protests in Minnesota — which included an economic blackout and tens of thousands of marchers despite the subzero Fahrenheit temperature — was especially “invigorating and motivating” at a time when she was in “despair” for her community. “It’s 50,000 of us. The high is negative nine, and not only are people showing up, but they’re showing up with hot chocolate, they’re showing up with hand warmers,” she recalls. “They’re showing up as community.” On the train ride home, Shore says people were “greeting each other (with) ‘F—k ICE’” in a way that reminded her of congregants saying “peace be with you” at a Catholic church service.

“It is nice to have Bruce Springsteen’s attention and the other big names, because it highlights the ongoing need, and brings more money in,” Simpson says. “Families are struggling to make payments because they have been home and not working, had hours cut, had main family earners detained. Our restaurants are struggling because employees had to stay home.”

The City of Minneapolis experienced an estimated $203 million in economic impact from Trump’s Operation Metro Surge, with small businesses and restaurants losing $81 million. “Minneapolis residents are feeling very used up; we’ve been supporting our community for months,” Simpson adds, pointing to these GoFundMe and GiveButter campaigns, as well as the Stand With Minnesota online directory, in particular. “This attention will hopefully lead to more resources.”

“This is our community,” says Shore, who has been heartened by local resolve in the face of federal opposition. “You don’t get to tell us what to do. You keep hearing for the past 20 years, ‘No one’s coming to save us, we have to save ourselves.’ It’s happening here, which is really the most heartwarming thing.”

Additional reporting by Brian and Jean Lynch.


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Marc Anthony’s record-breaking run on Billboard’s Tropical Airplay chart continues with the Nathy Peluso collaboration “Como En El Idilio,” which rises to No. 1 on the survey dated April 4.

In the week ending March 26, “Como En El Idilio” earned 6.7 million radio audience impressions, a gain of 10%, according to Luminate.

“Como En El Idilio” marks Anthony’s 39th No. 1 on the tally, the most of any act in its history. (Tropical Airplay began in 1994; Anthony was one of the then-fledgling ranking’s first leading acts, nabbing his first ruler with “Te Conozco Bien” in 1995.)

Anthony has 11 more rulers than the next closest act on the all-time list, Victor Manuelle, who boasts 28.

Most No. 1s, Tropical Airplay:

  • 39, Marc Anthony
  • 28, Victor Manuelle
  • 27, Prince Royce
  • 20, Romeo Santos
  • 14, Elvis Crespo
  • 14, Gilberto Santa Rosa
  • 13, Jerry Rivera
  • 12, Juan Luis Guerra 4.40
  • 11, India

“Como En El Idilio” is Anthony’s first No. 1 since “Que Me Quiera Ma,” a collaboration with Wisin, led for a week in December. Discounting holiday material, Anthony has four leaders in a row, dating to 2024’s “Punta Cana,” though “Que Me Quiera Má” and “Como En El Idilio” bookend the seven-week chart run of his rendition of “Feliz Navidad/I Wanna Wish You a Merry Christmas” that peaked at No. 12 in December.

As for Peluso, “Como En El Idilio” is her first Tropical Airplay No. 1, coming in her first appearance on the chart. She’s the first act in 2026 to nab their first Tropical Airplay leader and the first to do so since Emilia reigned in June 2025 on the Silvestre Dangond collaboration “Vestido Rojo.”

Concurrently, “Como En El Idilio” lifts 8-6 on the all-Latin-format Latin Airplay chart. It also vaults 49-41 in its second week on the multimetric Hot Latin Songs; in addition to its radio airplay, the song earned 108,000 official U.S. streams.


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BTS scores its seventh No.1 on the Billboard Hot 100 with “Swim,” and producer Diplo joins Billboard to discuss his extensive work on the group’s comeback album, ARIRANG. Diplo takes us inside the two-month studio process at Conway Studios in Los Angeles, where he worked with all seven BTS members to create their highly anticipated return to music after four years. Stephen Sanchez discusses “Love, Love, Love” and his upcoming European tour, plus a rundown of the current Hot 100 top 10

Diplo: The team was like, ‘That sounds more like a j-hope song, that more sounds like a Jimin song. So, like, those guys have their own style.’

Stephen Sanchez: It makes me want to take off my pants and go and swim. 

Tetris Kelly: And die. Does BTS swim to the top of the charts? BTS is back, and we got Diplo here to talk all about it, and Stephen Sanchez is here to discuss “Love, Love, Love.” Let’s start by jumping into the charts. This is the Billboard Hot 100 top 10 for the week dated April 4. “Folded” is back in the top 10. “The Fate of Ophelia” slips to nine.

Diplo: Happy now with some, like, PinkPantheress, who’s like, well, I love what she does. I love her, like, vibe, and Zara too. She’s like, a big comeback story because I feel like her story was, like, ‘I did this thing with a label forever, and I’m gonna do it myself.’ And people want to be like, ‘Let’s see what you got.’ And she like, did it, you know? She’s also Swedish. So it just helps, because they’re just the best at every kind of like, songwriting.

Tetris Kelly: “Stateside” falls to eight. That’s numbers 10 through eight. And as you can see, we got Diplo here to give us his thoughts. I’ll give it to you guys in New York.

Xander Zellner: Diplo, thank you so much for being with us today. 

Diplo: Thanks for having me. 

Xander Zellner: This is awesome. So I guess to kick things off, we have to talk about BTS and their new No. 1 album, ARIRANG. It’s No. 1 on the Billboard 200. Obviously their track “Swim” is really taking off. You are all over this album. You produced a lot of it. You wrote a lot of it. What was your experience like working with them?

Diplo: The boys. I was in Conway studios with them for about two months in and out in L.A., but we did a lot of prep work. We did a lot of music for them, almost like 80 tracks to kind of whittle down, and then just working with the personalities, figuring out what the idea was for them to come back. And I’m telling you, they’re very hands on. I think every artist has, like, writing credit. I think RM has credit on every song, but they wrote basically every piece of every record on the record, they had, like, their ideas and their concepts, and had a big list of who they wanted to work with, and really different sounds. And some were very surprising to me.

Keep watching for more!

In the wake of the hip-hop and R&B takeover that defined the mid-’00s in pop music, 2006 saw top 40 in something of a transitional space. Rap was still at the center of everything, but with superstars Kanye West and 50 Cent in between album cycles, OutKast starting to fracture and Eminem in self-imposed exile, it was left without a major centrifugal force — a void rap’s self-proclaimed King of the South stepped up to fill. And while R&B remained massive, it continued to merge with pop in unexpected ways, with the acoustic midtempo sound of Norwegian producers Stargate and the pen of rising songwriter Ne-Yo — starting to step into the solo spotlight himself — taking over radio, marking a major shift from the nu-soul and crunk-n-B that had dominated R&B earlier in the decade.

Swarming the top 40 landscape in 2006 came a wave of bands and solo artists — many boosted by synchs on new hospital drama Grey’s Anatomy, the hottest show on television — who attempted to offset turbulent times with mellow, comforting, piano-based pop-rock. Meanwhile, emo’s pop crossover continued, with its most-hyped new band even taking the top prize on MTV’s biggest night. Disney pop began to show itself as an undeniable (and growing) mainstream force. And the biggest hip-hop producer of the turn of the century brushed off the first cold streak of his career with a pair of projects that dramatically reinvented the pop stars behind them, leading to the biggest hits of their careers.

Billboard‘s 2006 Week, celebrating the artists, songs and trends that defined the music of that year, begins here with our staff’s picks for the best singles of the bunch — including songs that reached or topped the Billboard Hot 100 for the first time in 2006, but not ones that waited until future years to make or top the chart. Go ahead and let your hair down as we tell you our favorite songs from 20 years ago. (You can also see in each entry how the songs ranked in 2006’s chart-based Year-End Billboard Hot 100.)