It’s been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016’s Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts.

Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna’s approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.” 

Join Chris Molanphy as he traces Rihanna’s journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s been nearly a decade since Rihanna released a studio album—and fans and critics alike have wondered when, if ever, a follow-up to 2016’s Anti might arrive. Which is ironic, because in her heyday, Rihanna was the most productive hitmaker on the charts.

Churning out at least one album a year in the late aughts and early ‘10s,  Rihanna’s approach to the charts was closer to early Motown or the Beatles than Beyoncé or Taylor. The result: the Barbadian pop deity scored more No. 1s than any 21st century artist, from “SOS” and “Umbrella” through “Diamonds” and “Work.” 

Join Chris Molanphy as he traces Rihanna’s journey from tropical tyro to commanding chart queen and explores how she found hits at a boundless pace.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun. 

In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump.

Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s.

Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of music in the 1960s, some groundbreaking artists probably come to mind: Bob Dylan, Jimi Hendrix and the Jefferson Airplane, for example. But the pop charts paint a very different picture of that decade, which embraced easy listening, groovy bubblegum, novelty and instrumental records—even a guitar-strumming Belgian nun. 

In other words, the soundtrack of the era was more like Mad Men and less like Forrest Gump.

Join Chris Molanphy as he unearths forgotten hits from Bobby Vinton, Kyu Sakamoto, Jeannie C. Riley, and other unlikely chart-toppers, on a still-strange trip through the ‘60s.

Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group’s “imperial phase”—a term that eventually caught on among music critics and pop fans.

So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don’t quite fit the bill? Are there rules for imperial phases?

Hit Parade’s Chris Molanphy says yes—he’s got chart rules for determining when an artist is at peak imperiality. And he says Madonna’s late ’80s streak of hits might be the ultimate imperial phase.

Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna’s biggest phase, which may remain unmatched.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

In the late 1980s, the English synth-pop duo Pet Shop Boys dominated the U.K. pop charts and staged an invasion of the American charts. Years later, founding member Neil Tennant dubbed this streak of creative and commercial supremacy the group’s “imperial phase”—a term that eventually caught on among music critics and pop fans.

So, what does it take for an artist to achieve imperial dominance? Why might Fleetwood Mac in the 1970s or The Weeknd in the 2010s qualify, while Cher or Lizzo don’t quite fit the bill? Are there rules for imperial phases?

Hit Parade’s Chris Molanphy says yes—he’s got chart rules for determining when an artist is at peak imperiality. And he says Madonna’s late ’80s streak of hits might be the ultimate imperial phase.

Join Chris as he dissects the most regal artists across the decades, defining what makes them imperial—and he walks hit by hit through Madonna’s biggest phase, which may remain unmatched.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that?

Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob’s voice got rougher, but loyal audiences kept buying his music.

Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist.

Join Chris Molanphy as he walks through Bob Dylan’s career decade by decade, from his ’60s folkie years to his 21st-century revival. With the biopic reviving interest in rock’s poet laureate, there’s never been a better time to get tangled up in Bob.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

At the movies, A Complete Unknown depicts Bob Dylan as a 1960s “it” boy—played by a 2020s “it” boy, Timothée Chalamet. But the film ends in 1965. What happened in the six decades after that?

Dylan not only kept recording. He actually started topping the charts—in the 1970s, the era of Led Zeppelin, not Pete Seeger. And several of his chart-topping albums came decades later, in the 21st century. Bob’s voice got rougher, but loyal audiences kept buying his music.

Several of these platinum Dylan LPs are among the most acclaimed in rock history—from Blood on the Tracks to Time Out of Mind. And Dylan stayed an object of fascination through all his changes—as a road warrior, a born-again Christian, a Traveling Wilbury, a JFK conspiracy theorist.

Join Chris Molanphy as he walks through Bob Dylan’s career decade by decade, from his ’60s folkie years to his 21st-century revival. With the biopic reviving interest in rock’s poet laureate, there’s never been a better time to get tangled up in Bob.

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices

To kick off the New Year, we're sharing a podcast that we think Hit Parade listeners are going to love: Broken Record. Check out this episode with singer/songwriter Norah Jones, co-hosted by Blue Note Records President Don Was. Norah has been with Blue Note Records since releasing her juggernaut 2002 debut album, Come Away With Me. In this conversation, Norah details her musical upbringing and what it was like striking it big with her debut album. She also performs for us, and talks about the musical freedom she's found as part of the Blue Note family.

Blue Note is one of the first and longest standing institutions of jazz music. Since its formation in 1939 the label has put out albums by Robert Glasper, Lee Morgan, John Coltrane, Wayne Shorter, Gergory Porter, Bobby McFerrin, and many more.

Learn more about your ad choices. Visit megaphone.fm/adchoices

The Slate Music Club is back, in a special edition of Hit Parade – “The Bridge”! Our year-end panel of critics—NPR Music’s Ann Powers, Hearing Things’ Julianne Escobedo Shepherd, Slate’s own Carl Wilson and Hit Parade host Chris Molanphy—discuss their favorite albums and singles and the trends that shaped the year in pop, rap, country, Latin and global music. 

Among the questions the roundtable tackles: Have we reached peak Taylor Swift? Did the Kendrick Lamar–v.-Drake beef overshadow hip-hop’s next generation? How much further will country cross over to pop audiences—and how does Latin music fit in? How did music from diverse artists stand in for protest music in 2024? And what will become of music criticism itself?

Note: Slate Plus members can hear this special episode in full. Ad-supported listeners will hear the first half. Want to hear the whole discussion? Sign up for Slate Plus!

Podcast production by Kevin Bendis.

Learn more about your ad choices. Visit megaphone.fm/adchoices