Twelve of the forty-one cuts in this selection come from a single label: Rimas Entertainment. Three Bad Bunny songs —'NUEVAYoL', 'Neverita' and 'Me Fui de Vacaciones'— each deployed in original, clean and intro versions, DJ-tool logic rather than showcase. The number matters because Rimas is the only independent that numerically dominates a tracklist full of majors: founded in 2014 by Rafael Ricardo Jiménez-Dan and based in San Juan, the Puerto Rican house that signed Bad Bunny in 2016 now runs offices in Miami, Caracas and Medellín, sold a 60% stake to Noah Assad in 2023, and stands behind the artist's historic San Juan residency, 31 sold-out dates. That a summer open-format chart orbits its catalog says more about the state of global pop than any statistic.
Reading the tracklist through the label column
The rest of the cast is a map of major catalogs. Island Records brings two eras in one: Bob Marley & The Wailers classics ('Could You Be Loved', 'Three Little Birds') and the Working Later remix of 'Espresso' by Mark Ronson and FNZ. Gasoline Alley and Volcano hold down the nineties SoCal block —Sublime with 'Santeria' and 'Badfish', 311 with 'Amber'— while Geffen (Weezer), Polydor (Glass Animals) and Rhino/Warner (Talking Heads) round out the rock memory. FAX Records/Epic opens the list with Tyla's 'Water', the chart's only foothold in African pop.
The telling exception is Solid Grooves: Toman's 'Verano En NY', the lone tech house cut here at 126 BPM, reminds you this was born on Beatport even though almost nothing in it is club music in the strict sense. The selection works as an open-format set for a beach afternoon, with intros and clean edits built for smooth blends, and it closes exactly where it should: 'This Must Be the Place (Naive Melody)', Talking Heads' naive melody as the last ray of sun.
Sources: Wikipedia · Fast Company
