Idolator

In the annals of popular music, certain albums stand out for their sheer percentage of hit-bound material. Michael Jackson’s Thriller is the most famous, not just because it spun off seven Top 10 singles—the first album to do so—but because the whole disc had only nine tracks. That’s a stunning 78% hit ratio. Shania Twain’s Come on Over, roughly 70% of which charted on the country and pop charts over the course of two years, is nearly as legendary. More recently, Rihanna has mined just over half of Good Girl Gone Bad for a string of hits.

Normally, feats like these are the result of months of patient promotion, as singles are promoted one by one—lined up for release to radio like planes on a slow-moving runway.

When you’re an 18-year-old country-pop phenomenon, however, things move a lot faster.

For the first time in months, the most oft-recurring name on Billboard's Hot 100 isn’t ubiquitous rapper Lil Wayne. It’s Taylor Swift, who appears with seven songs this week, six of them brand-new to the chart.

We’ve seen this chart ubiquity happen several times this year—not just with Weezy but with American Idol winner David Cook and the Jonas Brothers. What’s unprecedented is just how much of an individual Swift album has now made the chart.

Eat your heart out, Michael: just one week after it debuted in stores, Swift’s Fearless is 85% hit.

We knew last week that Beyoncé’s “If I Were a Boy” was poised to make a big leap on Billboard's Hot 100. The only question was, how big?

Just a year ago, a 65-space jump to No. 3 would have been enough to make our eyes pop. When Britney Spears did it in early October 2007 with “Gimme More,” it was considered something of a triumph—especially as she was at the height of her meltdown phase and coming off a tragic performance at the 2007 Video Music Awards.

Now, we’re a little harder to impress. In its third week on the charts, “Boy” makes the exact same move from No. 68 to No. 3—and chart geeks yawn. That’s because the last two months have brought three straight leaps all the way to No. 1 from below No. 70. (The most recent was by Spears herself, whose “Womanizer” bested “Gimme More” by shooting from No. 96 to the penthouse.)

Still, Beyoncé’s got nothing to be ashamed of: her gender-flip of Prince’s “If I Was Your Girlfriend” (well, I like to think of it that way) is her ninth career Top 10 single and sold almost 190,000 digital downloads. And it brings her one hit away from matching the career chart record of the group she ditched four years ago.

Ten years ago this month—Oct. 23, 1998, to be exact—Jive Records released a savvy, Max Martin–produced pop trifle called “…Baby One More Time.” It went on to top Billboard's Hot 100 in the winter of 1999 and kick off teen-pop’s headiest, craziest and silliest year of cultural dominance.

It was also the last time former Mouseketeer, aspiring starlet and pop fetish object Britney Spears would top the premier U.S. singles chart—until this week, when Spears (as predicted) shoots from the chart’s bottom rungs to the penthouse with “Womanizer.” In the process, she ousts rap king T.I. and duet partner Rihanna; defeats a record he set twice in the last two months for the biggest leap to the top in Billboard history; beats Mariah Carey’s record for one-week digital sales by a female act; and consummates a year-long effort to rehabilitate her career.

When I speak about Britney’s rehabilitation, I’m not just referring to her well-publicized efforts to turn around a half-decade of tabloid-level personal breakdown. I’m also referring to her surprisingly checkered U.S. chart history. Indeed, the first question some of you might be asking yourselves is, How is this only her second No. 1 hit?

The short answer: she’s arguably gotten screwed by the refs. To a chart geek like me, Spears comes off as a victim of a decade of erratic industry practices and radical shifts in Hot 100 chart rules.