Drake just set another bunch of chart records

Another month, another Drake chart record.

The Canadian hip-hop giant enters a class of just two as his new single ‘Toosie Slide’ opens at the top of the Billboard Hot 100.

With that piece of history, Drake becomes the only male solo artist to land three No. 1 debuts on the U.S. singles chart, joining Mariah Carey, who managed the feat in a stretch from 1995 to 1997.

Drizzy also topped out on debut with ‘God’s Plan’ and ‘Nice for What,’ both from 2018. Across his career, he has seven No. 1s to his name for 50 cumulative weeks at the U.S. chart summit, also a record. 

Expect that elite club to swell in years to come. According to Billboard, Britney Spears, Justin Bieber and Ariana Grande are close behind, having each debuted two songs at the Hot 100 summit. 

For the record, ‘Toosie Slide’ starts at No. 3 on the ARIA Singles Chart, easily the highest debut in Australia this week.

Drake is setting records for fun

The one-time star of Degrassi: The Next Generation isn’t done there. ‘Toosie Slide’ blasts to a No. 1 start on Billboard’s Hot R&B/Hip-Hop chart. It’s his 20th leader on that particular list, drawing him level with Stevie Wonder and the late Aretha Franklin for the most No. 1s in the history of the chart, though he got there in nearly half the time of those two legends.

This time last month, Drake was basking in the afterglow of a major chart record: he set the mark for most entries on the U.S. singles chart, at 208. Make that 209 with ‘Toosie Slide,’ which extends his record.

Drake’s popularity is easy to identify, hard to replicate. He’s like the boxer with all the combinations: he comes at you from every angle.

He got his start as an actor on a teen-focused TV show; he’s a streaming giant who’s a two-time IFPI Global Recording Artist of the Year Award winner, his triple set Scorpion the first album in history to score a billion streams. And he collaborates so often and with so many artists, you’d think he was the friendliest guy in Toronto.

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This article originally appeared on The Industry Observer, which is now part of The Music Network.