Monthly Archives: November 2021

“Easy on Me” is the first song to lead simultaneously in airplay, streaming and sales since “Despacito” in 2017.

As Adele‘s new LP 30 blasts in at No. 1 on the Billboard 200 albums chart with the biggest week of 2021, lead single “Easy on Me” rebounds for a fifth week atop the Billboard Hot 100 songs chart.

The ballad reigns as the most-streamed and top-selling song of the week — and, for the first time, the most-heard hit on radio. Notably, it’s the first song to lead in all three metrics simultaneously since Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, in 2017.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 4) will update on Billboard.com tomorrow (Nov. 30). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Easy on Me,” released Oct. 14 on Columbia Records, drew 93.2 million radio airplay audience impressions (up 11%) and 37.5 million U.S. streams (up 55%, as it claims the Hot 100’s top Streaming Gainer award) and sold 27,600 downloads (up 11%) in the Nov. 19-25 tracking week, according to MRC Data.

With its fifth week atop the Hot 100, the ballad ties for Adele’s third-longest Hot 100 reign among her five No. 1s:

“Hello,” No. 1 for 10 weeks, beginning Nov. 14, 2015
“Rolling in the Deep,” seven, May 21, 2011
“Easy on Me,” five, to-date, Oct. 30, 2021
“Someone Like You,” five, Sept. 17, 2011
“Set Fire to the Rain,” two, Feb. 4, 2012

“Easy on Me” concurrently returns for a fifth week atop the Streaming Songs chart and takes over atop Radio Songs, becoming Adele’s fifth No. 1 on the latter ranking, via the same titles as her Hot 100 No. 1s. “Easy on Me” reaches the Radio Songs summit in its sixth week on the chart, tying Silk Sonic’s “Leave the Door Open” for the quickest ascent to the top this year; before both songs, no track had led so quickly since Ed Sheeran’s “Shape of You” (also six weeks, in 2017).

Sporting top 10 showings at individual radio formats, “Easy on Me” tops Adult Pop Airplay for a second week; ranks at No. 2 on Adult Contemporary (after three weeks at No. 1) and Pop Airplay, No. 3 on Adult Alternative Airplay and No. 6 on Dance/Mix Show Airplay (thanks to remixes); and hits the top 10 (11-9) on Adult R&B Airplay.

Impressively, “Easy on Me” dominates in all three of the Hot 100’s metrics (airplay, streaming and sales), marking the first song to don such a triple crown in a single week since Luis Fonsi and Daddy Yankee’s juggernaut “Despacito,” featuring Justin Bieber, for five weeks in July-August 2017. (Note that while it sold the most of all songs in the Nov. 19-25 tracking week, “Easy on Me” does not appear on the Dec. 4 Digital Song Sales chart, which reflects total weekly sales activity, i.e., net sales based on both weekly purchases and total “returns” when consumers complete album purchases — which, in effect, count as a negative sale for tracks customers have already purchased — as with 30 in the latest tracking frame, via platforms such as the iTunes Store.)

Meanwhile, fellow 30 cut “Oh My God” roars onto the Hot 100 at No. 5, with 24.2 million streams, as it starts at No. 3 on Streaming Songs; 6.8 million in airplay audience; and 3,300 downloads sold, good for a No. 28 entrance on Digital Song Sales.

Adele adds her eighth Hot 100 top 10. In addition to her five No. 1s and “Oh My God,” she reached No. 8 with both “Skyfall” (October 2012) and “Send My Love (To Your New Lover)” (September 2016).

Plus, thanks to “Easy on Me” at No. 1 and “Oh My God” at No. 5, Adele boasts simultaneous top five Hot 100 hits for a second time; “Set Fire to the Rain” and “Rolling in the Deep” placed at Nos. 2 and 5, respectively, on the March 3, 2012, chart, after Adele performed the latter at that year’s Grammy Awards, while the song won for record and song of the year and parent LP 21 took the trophy for album of the year.

“Oh My God” is likewise already being supported at multiple radio formats, as it flies 40-22 on Adult Pop Airplay and debuts at No. 40 on Pop Airplay.

As previously reported, Adele’s album 30, released Friday, Nov. 19, rockets in at No. 1 on the Billboard 200 with 839,000 equivalent album units, including 692,000 in album sales, both weekly bests for a title this year.

The Kid LAROI and Bieber’s “Stay” rebounds 3-2 on the Hot 100, after seven weeks at No. 1. It concurrently leads Pop Airplay for a 13th week, moving to within one frame of Ace of Base’s record 14-week reign with “The Sign” in 1994.

Lil Nas X and Jack Harlow’s “Industry Baby” rises 4-3 on the Hot 100, after a week at No. 1, as it logs a 14th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100.

Taylor Swift’s “All Too Well (Taylor’s Version)” drops to No. 4 on the Hot 100, a week after it soared in at No. 1. After opening atop both Streaming Songs and Digital Song Sales, it descends to No. 2 on the former tally (25.8 million, down 53%) and No. 9 on the latter (6,300, down 89%). The track also tops the multi-metric Hot Country Songs chart for a second week.

Meanwhile, airplay for the song, which runs 10 minutes and 13 seconds in its longest mix, a record for a Hot 100 No. 1, is up 156% to 731,000 impressions (via all its versions). Although not being promoted as a proper radio single from Swift’s album Red (Taylor’s Version), seven stations that contribute to the Radio Songs chart played it 10 or more times in the tracking week (up from four a week earlier), led by Pop Airplay panelists WPRO Providence, R.I. (52), and WDJQ Canton, Ohio (32), and Adult Pop Airplay reporter WWBX Boston (20).

(“Message in a Bottle [Taylor’s Version] [From the Vault]” is the current radio single from Red [Taylor’s Version]; it jumps 22-16 on Adult Pop Airplay and 38-26 on Pop Airplay as the Greatest Gainer on both charts.)

Ed Sheeran’s “Shivers” ascends 7-6 on the Hot 100, after reaching No. 5, and Glass Animals’ “Heat Waves” climbs 8-7 for a new best, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 10th week each.

Sheeran’s “Bad Habits” dips 6-8 on the Hot 100, after reaching No. 2. It also hits No. 1 on Adult Contemporary, where it’s his fourth leader; his prior three all logged lengthy reigns: “Thinking Out Loud” (19 weeks at No. 1, beginning in March 2015), “Shape of You” (24 weeks, beginning in May 2017) and “Perfect” (22 weeks, beginning in February 2018).

Rounding out the Hot 100’s top 10, Doja Cat’s “Need to Know” holds at No. 9, after hitting No. 8, and Silk Sonic’s “Smokin Out the Window” slides to No. 10 from its No. 5 peak, although it wins top Airplay Gainer honors on the Hot 100 (23.2 million, up 72%) and leads the multi-metric Hot R&B Songs chart for a third week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 30).

Source: billboard.com

Adele’s new album 30 blasts in at No. 1 on the Billboard 200 albums chart, debuting with the largest week of 2021 for any album, while the set is already the biggest-selling album of the year. It’s the third No. 1 for the superstar, following 25 (10 weeks on top in 2015-16) and 21 (24 weeks in 2011-12).

30 is Adele’s first album in six years, since she released 25 on Nov. 20, 2015.

30 starts with 839,000 equivalent album units earned in the U.S. in the week ending Nov. 25, according to MRC Data. That’s by far the largest week of the year for any album by units earned, surpassing the debut of Drake’s Certified Lover Boy, which earned 613,000 units in the week ending Sept. 9.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 4, 2021-dated chart (where 30 debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 30. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of 30’s 839,000 equivalent album units earned in the U.S. in the week ending Nov. 25, album sales comprise 692,000, SEA units comprise 141,000 (equaling 185.39 million on-demand streams of the set’s 12 tracks) and TEA units comprise 6,000 units.

30’s 692,000 album sales’ total is easily the largest sales week of the year for any album. It nearly doubles the year’s previous biggest sales week, when Taylor Swift’s Red (Taylor’s Version) sold 369,000 in the week ending Nov. 18.

Further, 30’s sales of 692,000 immediately make the set the biggest-selling album of the entire year, surpassing the total sales of any album over the past 11 months combined. The year’s previous biggest-selling album was Swift’s 2020 release Evermore, which has sold 471,000 in 2021.

Of 30’s total album sales (692,000), physical album sales account for 487,000 of that figure (378,000 in CDs; 108,000 in vinyl LPs; and just under 2,000 in cassette tapes) and digital album sales comprise 205,000. (30 has the second-largest sales week for a vinyl album since MRC Data began tracking sales in 1991. Only Swift’s Red [Taylor’s Version] has sold more copies on vinyl in a single week since 1991, with 114,000 sold in the week ending Nov. 18, as reflected on the charts dated Nov. 27.)

The standard 12-track edition of the 30 album was available as a CD, digital album and black vinyl LP widely in the U.S. Adele’s official webstore exclusively sold the cassette tape edition of the album, as well as two deluxe boxed sets.

Beyond the standard widely available editions of the album, and Adele’s webstore offerings, the only other variants of the album available in the U.S. were a 15-track CD exclusive to Target and two vinyl LP variants – one exclusive to Amazon (a white-colored vinyl LP) and the other solely available through Walmart (a clear-colored LP). The Target CD contains three exclusive audio tracks, including a version of the album’s lead single “Easy on Me” featuring Chris Stapleton; the song is by Adele solo on all other versions of the set. Target is the only U.S. retailer with any bonus audio tracks for 30.

30’s first-week sales of 692,000 not only mark the single-largest sales frame of 2021, but the largest sales week for any album since 2017. The last time an album sold more copies in a single week was when Taylor Swift’s Reputation debuted with 1.216 million copies sold in the week ending Nov. 16, 2017 (reflected on the Dec. 2, 2017-dated charts).

In its debut week, Reputation was not available in full on streaming services, and its digital album was exclusively sold via the Apple iTunes Store and Swift’s webstore. The album was also available in two Target-exclusive zine/CD editions, but not on vinyl or cassette. No bonus tracks were featured on any version of the album in its release week. First-week sales of Reputation were also likely enhanced by fan participation in the Taylor Swift Tix powered by Ticketmaster Verified Fan program, where the purchase of an album would help secure greater access to Swift’s then-upcoming stadium tour. (Such a promotion is no longer eligible to count toward charted sales, as of Oct. 9, 2020.)

In terms of streams, 30 debuts with 141,000 SEA units – totaling 185.39 million on-demand streams of the album’s 12 tracks. That’s the fourth-largest streaming debut of 2021 for an album by a woman, after the opening weeks of Red (Taylor’s Version) (303.23 million), Olivia Rodrigo’s Sour (300.73 million) and Summer Walker’s Still Over It (201.07 million). (Each of those figures is a weekly total of streams for each album’s songlist. The sum of Red [Taylor’s Version] reflected 30 tracks in its debut week, Sour had 11, Still Over It had 20 and 30 has 12.)

Comparably, Adele’s last album, 25, was not available to listen to in full on streaming services in its first week of release. 25 didn’t arrive in full on streamers until seven months later, in June of 2016.

30 was ushered in by the single “Easy on Me,” which has spent four weeks atop the Billboard Hot 100 songs chart (through the most recently published list, dated Nov. 27). The album was also supported by a 90-minute CBS TV special on Nov. 14, in which Adele performed songs in concert and sat down for an interview with Oprah Winfrey. Adele has also recently graced the magazine covers of American Vogue and Rolling Stone.

Swift’s Red (Taylor’s Version) falls from No. 1 to No. 2 in its second week, with 159,000 equivalent album units earned (down 74%). Drake’s former No. 1 Certified Lover Boy climbs 5-3 with 53,000 units (though down 7%), Silk Sonic’s An Evening With Silk Sonic dips 2-4 in its second week with 50,000 (down 52%), Morgan Wallen’s chart-topping Dangerous: The Double Album rises 6-5 with 48,000 units (up 6%) and Summer Walker’s former leader Still Over It falls 4-6 with just under 48,000 (down 25%).

Robert Plant and Alison Krauss’ second collaborative album, Raise the Roof, debuts at No. 7 on the Billboard 200. It’s the ninth top 10 for Plant as a solo artist, and the fifth for Krauss (including her work with Union Station). Raise the Roof follows Plant and Krauss’ first teaming, on the 2007 album Raising Sand, which debuted and peaked at No. 2. The set later won the Grammy Award for album of the year. (Legendary rock band Led Zeppelin, with Plant as a member, has banked 13 top 10s on the tally, including seven No. 1s, beginning in 1969.)

Raise the Roof starts with a little over 40,000 equivalent album units earned. Of that sum, album sales comprise 38,000, SEA units comprise 2,000 (equaling 2.17 million on-demand streams of the album’s songs) and TEA units comprise less than 1,000.

Olivia Rodrigo’s former No. 1 Sour climbs 11-8 with 40,000 equivalent album units earned (up 23%).

Michael Bublé’s chart-topping Christmas album jingles its way back to the top 10, as the album, first released in 2011, bolts 22-9 with 39,000 equivalent album units earned (up 77%). The set gets a boost courtesy of promotion around a 10th anniversary deluxe reissue that was released on Nov. 19, which includes additional tracks.

Christmas spent five weeks at No. 1 in late 2011 and early 2012 and has returned to the top 10 in every Christmas season since.

Closing out the new top 10 on the Billboard 200 is The Weeknd’s hits compilation The Highlights, which re-enters the chart at No. 10 with 37,000 equivalent album units earned (up 724%). The album debuted and peaked at No. 2 on the Feb. 20-dated chart. The Highlights was sparked in the latest tracking week by its release on vinyl LP, as 91% of the album’s sales for the week were on vinyl (a little over 5,000 of a nearly 6,000 sold).

Source: billboard.com

Swift scores her eighth Hot 100 leader with the re-recording of her longtime fan favorite, updated for her new album, ‘Red (Taylor’s Version).’

Taylor Swift blasts in at No. 1 on the Billboard Hot 100 songs chart with “All Too Well (Taylor’s Version).” The song, long considered a classic among her catalog, is from her new re-recorded LP, Red (Taylor’s Version), which concurrently launches at No. 1 on the Billboard 200 albums chart.

Swift first released the song on her 2012 album Red, with that version having spent a week on the Hot 100, at No. 80, on the ranking dated Nov. 10, 2012.

With the updated recording, Swift scores her eighth Hot 100 No. 1.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 27) will update on Billboard.com tomorrow (Nov. 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“All Too Well (Taylor’s Version)” was released on Red (Taylor’s Version) Nov. 12 on Republic Records, via two versions on the set: its 5-minute, 29-second and 10-minute, 13-second versions, both of which are combined into one listing on Billboard‘s charts. (The song’s original 5-minute, 29-second 2012 version is tracked separately.)

As the song becomes the 1,132nd No. 1 in the Hot 100’s 63-year history, and the 58th to enter on top, let’s dig deeper into its coronation.

Streams, airplay & sales: “All Too Well (Taylor’s Version)” begins with 54.4 million U.S. streams, 286,000 radio airplay audience impressions and 57,800 downloads sold in the Nov. 12-18 tracking week, according to MRC Data.

The song was on sale in its first frame via its 5-minute, 29-second and 10-minute, 13-second versions; clean and acoustic versions of the longer iteration; and its 9-minute, 58-second “Sad Girl Autumn Version – Recorded at Long Pond Studios” (all of which contribute to the title’s chart totals).

Meanwhile, the 14-minute, 56-second “All Too Well: The Short Film,” directed by Swift and starring Dylan O’Brien, Sadie Sink and Swift, and which serves as the song’s official video, premiered Nov. 12. Swift also performed a nearly 10-minute version of the song, against a backdrop of the film, on the Nov. 13 episode NBC’s Saturday Night Live (technically on Nov. 14, beginning at 12:13 a.m. ET … a time not unnoticed by intrepid, and calendar-conscious, Swifties).

‘There we are again …’: Swift scores her eighth Hot 100 leader. Here’s a recap:

“We Are Never Ever Getting Back Together,” three weeks at No. 1, beginning Sept. 1, 2012
“Shake It Off,” four weeks, beginning Sept. 6, 2014
“Blank Space,” seven weeks, beginning Nov. 29, 2014
“Bad Blood,” feat. Kendrick Lamar, one week, June 6, 2015
“Look What You Made Me Do,” three weeks, beginning Sept. 16, 2017
“Cardigan,” one week, Aug. 8, 2020
“Willow,” one week, Dec. 26, 2020
“All Too Well (Taylor’s Version),” one week to-date, Nov. 27, 2021

Swift is the 20th artist, and seventh solo woman, in the Hot 100’s history with at least eight No. 1s. The Beatles lead all acts with 20 No. 1s, followed by Mariah Carey with 19.

30 career top 10s: “All Too Well (Taylor’s Version)” is also Swift’s 30th Hot 100 top 10, as she becomes just the sixth artist to reach the milestone.

Most Hot 100 Top 10s:
54, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
30, Taylor Swift

No. 1 in streams & sales: “All Too Well (Taylor’s Version)” bounds in at No. 1 on both the Streaming Songs and Digital Song Sales charts. It’s Swift’s fifth leader on the former tally, pushing her past Cardi B for the most among women, and her record-extending 23rd No. 1 on the latter list.

As for the splits between the longer and shorter versions of the song over Nov. 12-18, streams and sales for the extended mixes dominated, accounting for 62% of all its clicks and 78% of all paid downloads (with the song’s 10-minute, 13-second and “Sad Girl Autumn” versions available for à la carte purchase in the tracking week only in Swift’s webstore).

(Perhaps unsurprisingly, given its length and no concentrated radio promotion, the song drew only a sampling of airplay in the tracking week, although four stations each played it, via a mix of durations, more than 10 times each: pop-formatted WPRO Providence, R.I. [16], WDJQ Canton, Ohio, WDJX Louisville, Ky. [12 each], and adult pop WWBX Boston [11].)

Record-extending Billboard 200 & Hot 100 debuts: Swift is the first artist to debut atop the Billboard 200 and Hot 100 simultaneously as many as three times. (The Billboard 200 began on March 24, 1956, and the Hot 100, on Aug. 4, 1958.)

Swift became the first act to swoop in with such a double when Folklore and “Cardigan” bowed atop the Billboard 200 and Hot 100, respectively, on Aug. 8, 2020. She repeated the feat with “Willow” and Evermore on Dec. 26, 2020.

BTS, Justin Bieber and Drake have scored one such simultaneous start each.

Longest Hot 100 No. 1: Given the (dominant) 10-minute, 13-second version of “All Too Well (Taylor’s Version),” the song can now be considered the longest No. 1 by run time in the Hot 100’s history. Don McLean’s “American Pie (Parts I & II),” at 8 minutes, 37 seconds, held the mark for nearly a half-century, dating to its first of four weeks at No. 1 in January 1972.

Ruling remakes: With the original “All Too Well” having charted on the Hot 100, at No. 80, for a week in November 2012, Swift notches the first No. 1 cover of a previously-charted Hot 100 hit (not counting samples or interpolations) in over 20 years, since Christina Aguilera, Lil’ Kim, Mya and P!nk’s “Lady Marmalade” started its five-week rule on the June 2, 2001, survey. The original by Labelle led for a week in March 1975.

‘My old self again …’: Meanwhile, Swift is the first artist to send an update of an act’s own prior Hot 100 hit to No. 1 since Elton John, whose “Candle in the Wind 1997″/”Something About the Way You Look Tonight” dominated for 14 weeks in October 1997-January 1998. His live version of “Candle” rose to No. 6 in January 1988, after he’d first released its studio recording in 1973.

John also logged the prior such Hot 100 leader, when his live take of “Don’t Let the Sun Go Down on Me,” with George Michael, reigned for a week in February 1992. John’s solo original studio version hit No. 2 in July 1974.

The original ‘All Too Well’: For comparison’s sake, the 2012 “All Too Well” drew 2.6 million streams (down 23%) and sold nearly 700 downloads (up 195%) in the Nov. 12-18 tracking week (with no radio plays detected among the over 1,300 stations that report to Billboard‘s Radio Songs chart).

As the song has won acclaim among Swift’s entire 15-year catalog, from journalists and fans alike, the original version has drawn 145.5 million U.S. streams, 1.6 million in radio airplay audience and 304,000 in sales to date.

Swift’s ninth Hot Country Songs No. 1: “All Too Well (Taylor’s Version)” concurrently crowns the Hot Country Songs chart, which uses the same multi-metric methodology as the Hot 100. It debuts as Swift’s ninth Hot Country Songs leader and her second this year, after “Love Story (Taylor’s Version)” roared in at No. 1 on the survey dated Feb. 27.

Adele’s “Easy on Me” dips to No. 2 on the Hot 100 after four weeks at No. 1. It descends to No. 3 after four weeks atop Streaming Songs, although with a 2% gain to 24.1 million streams; drops to No. 2 after two frames atop Digital Song Sales, surging by 70% to 24,800 sold; and holds at its No. 2 high on Radio Songs, up 9% to 84.8 million in radio reach, as it wins both the Hot 100’s top Sales and Airplay Gainer awards.

The song’s parent album, 30, was released Friday, Nov. 19, while Adele performed the ballad on CBS’ Adele: One Night Only, Nov. 14.

The single also hits No. 1 on the Adult Pop Airplay chart, where it becomes Adele’s sixth leader, as it tops Adult Contemporary for a third week.

The Kid LAROI and Bieber’s “Stay” slips 2-3 on the Hot 100, after seven weeks at No. 1, as it leads Radio Songs for a 10th week (86.9 million, down 3%).

Lil Nas X and Jack Harlow’s “Industry Baby” retreats 3-4 on the Hot 100, after a week at No. 1, as it logs a 13th week atop both the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

“Smokin Out the Window” by Silk Sonic, the twosome of Bruno Mars and Anderson .Paak, jumps 8-5 in its second week on the Hot 100, led by 23.8 million streams (up 13%) and 13.7 million in airplay audience (up 135%).

The collab (which contributes to the chart histories of both artists) is Mars’ 17th top five Hot 100 hit and Anderson .Paak’s second, after their “Leave the Door Open” spent two weeks at No. 1 in April-May. Both songs are from the pair’s album An Evening With Silk Sonic, which debuts at No. 2 on the Billboard 200.

“Window” concurrently tops the multi-metric Hot R&B Songs chart for a second week.

Ed Sheeran’s “Bad Habits” backtracks 4-6 on the Hot 100, after reaching No. 2, and his “Shivers” slides to No. 7 from its No. 5 high.

Rounding out the Hot 100’s top 10, Glass Animals’ “Heat Waves” pushes 10-8 for a new best, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a ninth week each; Doja Cat’s “Need to Know” keeps at No. 9 on the Hot 100, after hitting No. 8; and Walker Hayes’ “Fancy Like” falls 7-10, after reaching No. 3.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 23).

Source: billboard.com

Taylor Swift storms in at No. 1 on the Billboard 200 albums chart dated Nov. 27 with Red (Taylor’s Version), her re-recording of her 2012 album, Red, which led the list for seven weeks in 2012-13.

The new 30-track release, which adds a bevy of previously unheard “From the Vault” songs, gives Swift a milestone 10th No. 1 on the chart, making her just the second woman with 10 No. 1s in chart’s 65-year history. Barbra Streisand has the most No. 1s among women, with 11.

Red (Taylor’s Version) earned 605,000 equivalent album units in the U.S. in the week ending Nov. 18, according to MRC Data. That marks the second-largest week of the year, trailing only the debut frame of Drake’s Certified Lover Boy, which racked up 613,000 units in the week ending Sept. 9. Red (Taylor’s Version) also launches with the best week of the year in terms of traditional album sales: 369,000.

Red (Taylor’s Version) is Swift’s second re-recorded album, following Fearless (Taylor’s Version), which also debuted at No. 1, in April.

Also in the new top 10: Silk Sonic — the duo of Bruno Mars and Anderson .Paak — enters at No. 2 with their debut collaborative project, An Evening With Silk Sonic; TWICE’s Formula of Love: O+T=<3 starts at No. 3; and Jason Aldean’s Macon bows at No. 8.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 27, 2021-dated chart (where Red [Taylor’s Version] debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Red (Taylor’s Version)’s 605,000 equivalent album units earned in the U.S. in the week ending Nov. 18, album sales comprise 369,000, SEA units comprise 227,000 (equaling 303.23 million on-demand streams of the set’s 30 tracks), and TEA units comprise 9,000 units.

Red (Taylor’s Version) contains new versions of the original album’s 16 songs, along with its four deluxe edition bonus tracks and the 2012 charity single “Ronan.” Nine additional “From the Vault” recordings complete the new project: six previously unreleased tracks that were written for Red, a 10-minute version of the album’s “All Too Well,” and Swift’s solo renditions of the songs “Better Man” and “Babe.” The latter two tracks were written for Red, but not released by Swift at the time and later recorded and released by Little Big Town and Sugarland, respectively.

Red (Taylor’s Version) was announced on June 18 for release on Nov. 19. On Sept. 30, the release date was moved up a week to Nov. 12. Swift ushered in the album with appearances on NBC’s The Tonight Show Starring Jimmy Fallon and Late Night With Seth Meyers (both on Nov. 11), followed by a performance on Saturday Night Live on Nov. 13. On the latter, she performed the 10-minute version of the album’s “All Too Well.”

“All Too Well” also garnered its own 15-minute short film, which doubled as its music video, directed by Swift and starring Dylan O’Brien and Sadie Sink. Swift dropped an official video for one of the album’s “From the Vault” tracks “I Bet You Think About Me,” featuring Chris Stapleton. The clip was directed by Blake Lively and co-stars Miles Teller.

Swift additionally partnered with Starbucks, where the coffee giant promoted Swift’s favorite Starbucks beverage while also playing her music inside stores. The chain did not sell the CD, however (although Starbucks used to regularly sell CDs in its stores). Customers could order Swift’s fave Starbucks drink: a Grande Caramel Nonfat Latte … by asking for a Taylor’s Latte or a Taylor’s Version.

Let’s take a look at some of the feats that Swift achieves with the debut of Red (Taylor’s Version):

10 No. 1 Albums: Red (Taylor’s Version) is Swift’s 10th No. 1 album on the Billboard 200 chart. She becomes just the second woman to achieve 10 No. 1s, following Barbra Streisand, who has 11.

Among all acts, The Beatles continue to have the most No. 1 albums on the Billboard 200, with 19, dating back to when the list began regularly publishing on a weekly basis in March of 1956.

Most Billboard 200 No. 1s:
19, The Beatles
14, Jay-Z
11, Bruce Springsteen
11, Barbra Streisand
11, Taylor Swift
10, Drake
10, Eminem
10, Elvis Presley
10, Kanye West

Swift garnered her first No. 1 with Fearless, her second studio LP, which debuted atop the chart dated Nov. 29, 2008.

Fastest Accumulation of Four No. 1 Albums by a Solo Artist: Swift has… swiftly earned four No. 1 albums on the Billboard 200, in just a little under 16 months (or, 68 weeks). That’s the fastest that a solo artist has accumulated four No. 1s since the Billboard 200 began regularly publishing on a weekly basis in March of 1956.

Previously, among soloists, Elton John earned four No. 1s the fastest, with just 69 weeks between his final four No. 1s in 1974-75.

Swift’s four-pack of No. 1s began slightly less than a year and four months ago, when Folklore debuted at No. 1 on the chart dated Aug. 8, 2020. She followed it with the chart-topping arrivals of Evermore (Dec. 26, 2020-dated chart), Fearless (Taylor’s Version) (April 24, 2021) and now Red (Taylor’s Version) (Nov. 27, 2021).

John’s hot-streak of four No. 1s (of his total seven), started with Caribou (July 14, 1974) and was followed by Greatest Hits (Nov. 30, 1974), Captain Fantastic and the Brown Dirt Cowboy (June 7, 1975) and Rock of the Westies (Nov. 8, 1975). (All seven of John’s No. 1s came between July 15, 1972 and Nov. 8, 1975.)

Among all artists, including duos and groups, the last act to collect four No. 1s faster than Swift was The Monkees in 1967. The quartet collected all four of its No. 1s in just 13 months (55 weeks).

The made-for-TV band notched all four of its No. 1s in quick succession, with its self-titled album (it peaked at No. 1 on Nov. 12, 1966), More of the Monkees (Feb. 11, 1967), Headquarters (June 24, 1967) and Pisces, Aquarius, Capricorn, and Jones LTD. (Dec. 2, 1967).

Largest Sales Week of 2021: With 369,000 copies sold, Red (Taylor’s Version)  logs the biggest sales week for any album in 2021. The previous largest sales week of the year was held by Swift’s latest studio album of all-original material, Evermore, when it sold 192,000 copies in the week ending June 3, following its release on vinyl LP.

Helping sales of Red (Taylor’s Version) is its release on CD, digital download and vinyl LP all on Nov. 12. That’s unlike Fearless (Taylor’s Version) and Evermore, which both saw staggered releases for its formats, with their hefty-selling vinyl LPs arriving months after the album’s original release.

Sales of Red (Taylor’s Version) were also enhanced by the availability of CDs signed by Swift in her official webstore and at independent retailers.

Modern-Era Record Vinyl Sales Week… Again: Red (Taylor’s Version) sold 114,000 copies on vinyl in the week ending Nov. 18 — a new single-week record for a vinyl album since MRC Data began tracking sales in 1991. It beats the previous record, set when Swift’s own Evermore sold 102,000 copies on vinyl LP in the week ending June 3.

The vinyl sales are particularly impressive, as the Red (Taylor’s Version) vinyl release is a 4-LP set that sells for hefty $49.99. It was available in two editions: a standard black release and a red-colored variant sold exclusively through Target stores. The vinyl LP went up for pre-order in Swift’s webstore in August.

Second-Largest Streaming Week for an Album by a Woman: Red (Taylor’s Version) debuts with 227,000 SEA units — totaling 303.23 million on-demand streams of the album’s 30 tracks. That’s the largest streaming week of 2021 for an album by a woman, and the second-largest ever for a female artist. Among women, only the debut frame of Ariana Grande’s 2019 album Thank U, Next scored a bigger week, with 307.1 million streams for its songs in its opening frame. (Notably, Thank U, Next’s streaming sum was powered by only 12 songs on its tracklist, whereas Red [Taylor’s Version] had a whopping 30 tracks assisting its streaming total.)

Red (Taylor’s Version) also now holds the biggest streaming week for a country album, surpassing the debut frame of Morgan Wallen’s Dangerous: The Double Album in January (240.18 million from its 30 tracks).

Biggest Sales Week for a Country Album in Eight Years: Red (Taylor’s Version) sold 368,000 copies in its first week — the largest sales week for a country album since Luke Bryan’s Crash My Party sold 528,000 copies in its opening week (chart dated Aug. 31, 2013).

Red (Taylor’s Version) also logs the biggest week for a country album since the Billboard 200 began ranking titles by equivalent album units (instead of just pure album sales) in December of 2014.

Three country albums have topped the Billboard 200 in 2021: Morgan Wallen’s Dangerous: The Double Album (which reigned for 10 weeks), Fearless (Taylor’s Version) and now Red (Taylor’s Version). (Country albums are defined as those that have hit Billboard’s Top Country Albums chart.)

Swift’s original Red album spent 16 weeks at No. 1 on Billboard’s Top Country Albums chart and finished 2012 and 2013 as the year-end Top Country Album.

Silk Sonic arrives at No. 2 on the Billboard 200 with the pair’s first album, An Evening With Silk Sonic. The set bows with 104,000 equivalent album units earned. It’s the fourth top 10 for Mars, all of which have reached the top three on the list. It’s the second top 10, and highest charting album yet, for Anderson .Paak, who previously hit a No. 4 high with Ventura in 2019.

Of An Evening With’s starting sum of 104,000, SEA units comprise 60,000 (equaling 82.6 million on-demand streams of the set’s nine tracks), album sales comprise 42,000 and TEA units comprise 2,000.

Coincidentally, Mars’ last two albums both debuted at No. 2 — and one of them also arrived behind a Swift album. Mars’ 24K Magic debuted and peaked at No. 2 on the Dec. 10, 2016-dated chart, behind Metallica’s also-debuting Hardwired… To Self-Destruct. Before that, Mars’ Unorthodox Jukebox debuted at No. 2 on the Dec. 29, 2012-dated chart behind Taylor Swift’s Red, which was in its fifth nonconsecutive week at No. 1. Unorthodox Jukebox eventually climbed to No. 1, on the list dated March 16, 2013.

An Evening With was preceded by a trio of top 20-charting songs on the Billboard Hot 100: “Leave the Door Open” (No. 1 for two weeks in April), “Skate” (No. 14) and “Smokin Out the Window” (No. 8).

TWICE captures its second top 10 album on the Billboard 200, and highest charting effort yet, as Formula of Love: O+T=<3 debuts at No. 3 with 66,000 equivalent album units earned. Of that sum, album sales comprise 58,000, SEA units comprise 8,000 (equaling 12 million on-demand streams of the set’s tracks) and TEA units comprise a negligible sum. Like many K-pop releases, the CD edition of the new album was issued in multiple collectible packages (six, including two Target-exclusive editions).

The South Korean girl group hit the top 10 earlier in 2021 with the No. 6-peaking Taste of Love: The 10th Mini Album.

The new album was preceded by the track “The Feels,” which became the group’s first charting effort on the Hot 100, spending a week at No. 83 on the Oct. 16-dated list.

Summer Walker’s Still Over It falls from No. 1 to No. 4 in its second week on the Billboard 200, earning 64,000 equivalent album units (down 61%). Drake’s former No. 1 Certified Lover Boy dips 3-5 with 57,000 units (down 8%), Wallen’s chart-topping Dangerous: The Double Album descends 5-6 with 45,000 units (though up 5%) and Ed Sheeran’s former No. 1 = drops 4-7 with 38,000 units (down 25%).

Jason Aldean’s Macon debuts at No. 8 on the Billboard 200, marking his ninth top 10 on the chart. Macon launches with 37,000 equivalent album units earned. Of that sum, album sales comprise 19,000, SEA units comprise 16,000 (equaling 21.62 million streams of the set’s 15 tracks) and TEA units comprise 2,000 units.

Macon was led by the No. 1 Country Airplay hit “If I Didn’t Love You,” with Carrie Underwood, which has spent three weeks atop the list (as of the most recently published chart, dated Nov. 20). It’s Aldean’s first three-week No. 1 since 2014’s “When She Says Baby” also logged three weeks at No. 1. (All told, “If I Didn’t Love You” is Aldean’s 24th No. 1, as well as Underwood’s 16th leader.)

Rounding out the Billboard 200’s new top 10 are Kanye West’s former No. 1 Donda, up 13-9 with nearly 37,000 equivalent album units, up 46% thanks to its Nov. 13 deluxe reissue with additional tracks, and Doja Cat’s Planet Her, falling 6-10 with 35,000 units (down 5%).

Source: billboard.com

Plus: ABBA and Key Glock debut in the top 10.

Summer Walker earns her first No. 1 album on the Billboard 200 chart, as the singer’s second studio LP, Still Over It, arrives atop the list. The 20-track set was released on Nov. 5 and launches with 166,000 equivalent album units earned in the U.S. in the week ending Nov. 11, according to MRC Data. Over 90% of the album’s first-week units were driven by streaming activity. Still Over It marks both the first R&B album by a woman to top the Billboard 200 in more than five years and the largest streaming week ever for an R&B album by a woman.

Also in the top 10, ABBA returns with the group’s highest-charting album ever – and first top 10 – as its new studio album, Voyage, bows at No. 2. Plus, rapper Key Glock lands his highest-charting set, as Yellow Tape 2 begins at No. 7.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 20, 2021-dated chart (where Still Over It debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram. Of Still Over It’s 166,000 equivalent album units earned in the U.S. in the week ending Nov. 11, SEA units comprise 153,000 (equaling 201.1 million on-demand streams of the set’s tracks), album sales comprise 12,000 and TEA units comprise 1,000 units.

Still Over It is Walker’s third top 10 on the Billboard 200. It follows her 2020 EP, Life on Earth (No. 8), and her debut full-length studio album, Over It, in 2019 (No. 2). Over It has spent more than 100 weeks on the Billboard 200 chart and finished 2020 as the No. 2 title on Billboard’s year-end Top R&B Albums recap. The set has earned over 2.5 million equivalent album units in the U.S.

The new album was announced on Oct. 4 and led by the single “Ex for a Reason,” with JT (of City Girls). The track debuted at No. 6 on the Hot R&B Songs chart and in the top 20 of Hot R&B/Hip-Hop Songs (both dated Oct. 30).

Let’s take a look at some of the feats that Walker achieves with the debut of Still Over It:

First No. 1 R&B Album by a Woman in Over Five Years: Still Over It is the first R&B album by a woman to top the Billboard 200 since Solange’s A Seat at the Table ruled for one week on Oct. 22, 2016-dated chart. The last R&B album by any artist to be No. 1 on the Billboard 200 was The Weeknd’s After Hours, more than a year ago; it logged its fourth and final week at No. 1 on the April 25, 2020 chart. (R&B albums are defined as those that have hit Billboard’s Top R&B Albums chart.)

Still Over It also logs the biggest week, by units earned, for an R&B album by a woman since Beyoncé’s Lemonade earned 202,000 units in its third week (May 28, 2016 chart). (Lemonade bowed with 653,000 units and then earned 321,000 units in its second week.)

Biggest Week for an R&B Album in 2021: Still Over It scores the biggest week, by units, for an R&B album in 2021. The last R&B set to tally a larger week was The Weeknd’s After Hours (444,000 in its debut week; April 4, 2020 chart).

Largest Streaming Week Ever for an R&B Album by a Woman: Still Over It bows with 153,000 SEA units – totaling 201.1 million on-demand streams of the album’s tracks. It earns the largest streaming week ever for an R&B album by a woman, surpassing Walker’s own Over It (154.7 million in its debut week).

Still Over It also captures the second-biggest streaming week ever for any R&B album, trailing only the debut frame of The Weeknd’s After Hours (220.7 million; chart dated April 4, 2020).

Fourth-Biggest Debut by a Woman in 2021: Still Over It notches the fourth-largest debut week of 2021 by a woman. The only larger debuts in 2021 registered by women were the opening weeks of Taylor Swift’s Fearless (Taylor’s Version) (with 291,000 units; April 24 chart), Olivia Rodrigo’s Sour (295,000; June 5) and Billie Eilish’s Happier Than Ever (238,000; Aug. 14).

Pop legends ABBA earn their highest charting album ever, and first top 10, as Voyage debuts at No. 2 on the Billboard 200. The set was released on Nov. 5 and is the quartet’s first new studio album since 1982’s The Visitors.

Until this week, ABBA’s highest-charting album on the Billboard 200 was 1978’s The Album, which peaked at No. 14 on the July 22, 1978-dated chart. (The Album contains the hit single “Take a Chance on Me,” which peaked at No. 3 on the Billboard Hot 100 Songs chart. The Album was the follow-up to Arrival, which peaked at No. 20 and includes the act’s lone No. 1 Hot 100 hit, among four top 10s, “Dancing Queen.”)

In total, Voyage marks ABBA’s 14th charting album on the Billboard 200 and seventh to reach the top 40. (Not counted among those are the two Mamma Mia! film soundtracks, which consist of covers of ABBA tunes by their respective film’s actors. Both albums found great success, with the first Mamma Mia! soundtrack hitting No. 1 in 2008 and the sequel film’s Mamma Mia! Here We Go Again! soundtrack reaching No. 3 in 2018.)

Voyage starts with 82,000 equivalent album units earned in the U.S. in the week ending Nov. 11. Of that sum, album sales comprise 78,000 (making it the top-selling album of the week and the largest sales week for an album by a group in 2021); SEA units comprise 4,000 (equaling 4.9 million on-demand streams of the set’s songs), and TEA units comprise a negligible number.

Drake’s former No. 1 Certified Lover Boy falls 2-3 on the new Billboard 200 with 62,000 equivalent album units earned (down 8%), while Ed Sheeran’s = descends 1-4 in its second week with 51,000 units (down 57%). Morgan Wallen’s chart-topping Dangerous: The Double Album dips 3-5 with 43,000 units (though up 4%) and Doja Cat’s Planet Her drops 4-6 with 37,000 units (down 6%).

Rapper Key Glock lands his highest-charting album with the No. 7 debut of Yellow Tape 2. The set, which marks his third top 10-charting effort, bows with 36,000 equivalent album units earned. Of that sum, SEA units comprise 26,500 units (equaling 35.8 million on-demand streams of the set’s tracks), album sales comprise 9,500 and TEA units comprise a negligible figure.

Rounding out the new top 10 on the Billboard 200 are Olivia Rodrigo’s former No. 1 Sour (6-8 with 35,000 equivalent album units earned; down 2%), YoungBoy Never Broke Again’s chart-topping Sincerely, Kentrell (7-9 with 31,000 units; down 11%) and Lil Nas X’s Montero (8-10 with 27,000 units; down 9%).

Source: billboard.com

“Easy on Me” continues its command and “Heat Waves” rises 13-10.

Adele‘s “Easy on Me” leads the Billboard Hot 100 songs chart for a third week.

Plus, Glass Animals wrap an unprecedented climb to the Hot 100’s top 10, as “Heat Waves” ascends from No. 13 to No. 10. The song, the group’s first Hot 100 top 10, reaches the region in its 42nd week on the chart, completing the longest trip to the tier in the list’s 63-year history.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 13) will update on Billboard.com tomorrow (Nov. 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Easy on Me,” released Oct. 14 on Columbia Records, drew 70 million radio airplay audience impressions (up 12%) and 25.8 million U.S. streams (down 19%) and sold 15,800 downloads (down 32%) in the Oct. 29-Nov. 4 tracking week, according to MRC Data.

The ballad leads the Streaming Songs chart for a third week; rebounds 3-2 after a week atop Digital Song Sales; and advances 4-2 on Radio Songs.

Among individual radio formats (and reflecting airplay in the week ending Nov. 7), “Easy on Me” hits No. 1 on Adult Contemporary, becoming Adele’s sixth leader on the list. It reaches the top spot in just its fourth week, completing the quickest coronation for a non-holiday song since her own “Hello” also needed just four weeks to reign in November 2015. (Only one non-holiday track has led AC more quickly since MRC Data information began fueling the chart in July 1993: Bob Carlisle’s Father’s Day/wedding song classic “Butterfly Kisses,” in just its third week in May 1997.)

“Easy on Me” also rises 5-3 on Adult Pop Airplay; holds at its No. 4 high on Adult Alternative Airplay; and lifts 9-8 on Pop Airplay, 17-11 on Dance/Mix Show Airplay (helped by remix spins) and 13-12 on Adult R&B Airplay.

The Kid LAROI and Bieber’s “Stay” holds at No. 2 on the Hot 100, after seven weeks at No. 1, as it tops Radio Songs for an eighth week (89.5 million, down 3%). “Stay” concurrently leads Pop Airplay for an 11th week, tying for the second-longest reign since the chart began in October 1992.

Lil Nas X and Jack Harlow’s “Industry Baby” keeps at No. 3 on the Hot 100, two weeks after it led the listing. It adds an 11th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Ed Sheeran’s “Bad Habits” rises 5-4 on the Hot 100, after hitting No. 2, and his “Shivers” pushes 7-6 for a new high. Both songs are from his new album =, which launches as his fourth No. 1 on the Billboard 200.

In between Sheeran’s two songs, Walker Hayes’ “Fancy Like” dips 4-5 on the Hot 100, after reaching No. 3. It rules the multi-metric Hot Country Songs chart for a 17th week and becomes Hayes’ first No. 1 on Country Airplay.

Drake’s “Way 2 Sexy,” featuring Future and Young Thug, drops 6-7 on the Hot 100, following its No. 1 start in September; Doja Cat’s “Need to Know” rises 9-8 for a new best; and Olivia Rodrigo’s “Good 4 U” slips 8-9, after it dominated in its debut week in May.

At No. 10 on the Hot 100, Glass Animals enter the top 10 for the first time with “Heat Waves.” The song drew 30.8 million in airplay audience (up 29%) and 15.1 million streams (down 5%) and sold 2,800 (down 11%) in the tracking week.

Jumping 13-10, the single completes the lengthiest ascent ever to the Hot 100’s top 10: 42 weeks, dating to its debut (as Glass Animals’ first Hot 100 hit) at No. 100 on the Jan. 16 chart.

Most Weeks Ever to Hot 100’s Top 10:
42, “Heat Waves,” Glass Animals, reached top 10 on chart dated Nov. 13, 2021
38, “Before He Cheats,” Carrie Underwood, June 2, 2007
36, “Higher,” Creed, July 8, 2000
34, “I Hope,” Gabby Barrett feat. Charlie Puth, Aug. 29, 2020
31, “Radioactive,” Imagine Dragons, April 13, 2013
30, “Better,” Khalid, April 20, 2019
30, “Rockstar,” Nickelback, Sept. 15, 2007
30, “Amazed,” Lonestar, Feb. 26, 2000
30, “This Kiss,” Faith Hill, Oct. 10, 1998

Like nearly all the songs above, “Heat Waves,” released on Wolf Tone/Polydor/Republic Records, has made its steady Hot 100 ascent as a crossover airplay hit. It topped Alternative Airplay for three weeks in March-April and, after reaching the top 20 on both Pop Airplay and Adult Pop Airplay in June, continues to scale the formats, as it re-enters the latest charts at new highs of Nos. 15 and 18, respectively.

Further reflecting the era in which it’s become a hit, “Heat Waves” surged on TikTok, playing off the song’s “all I think about is you” lyrical hook. It trended especially strongly in late summer, including via a clip from the band itself.

The track concurrently tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a seventh week each.

Glass Animals formed in 2010 in Oxford, England. “Heat Waves,” which frontman Dave Bayley solely wrote and produced, is from the group’s third studio album, Dreamland, which became its first Top Rock Albums No. 1 upon its debut in August 2020. It also became the act’s first Billboard 200 top 10 with a simultaneous No. 7 entrance.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 9).

Source: billboard.com

Plus: Megan Thee Stallion debuts in top five.

Ed Sheeran scores his fourth No. 1 on the Billboard 200 chart as his latest studio album, =, bows atop the list (dated Nov. 13). The set, which was released on Oct. 29, earned 118,000 equivalent album units in the U.S. in the week ending Nov. 4, according to MRC Data. Over half of that sum was driven by album sales.

Sheeran previously led the list with No. 6 Collaborations Project (in 2019), ÷ (in 2017) and x (in 2014). Each of his previous chart-topping albums also debuted at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 13, 2021-dated chart (where = debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of =’s 118,000 equivalent album units earned in the U.S. in the week ending Nov. 4, album sales comprise 68,000 (making it the top-selling album of the week), SEA units comprise 46,500 (equaling 61.69 million on-demand streams of the album’s songs) and TEA units comprise 3,500. Sheeran bumps Drake’s Certified Lover Boy down to No. 2 with 67,000 equivalent album units earned (down 10%).

Morgan Wallen’s former leader Dangerous: The Double Album falls 2-3 with 42,000 units (down 1%) and Doja Cat’s Planet Her slips 3-4 with 40,000 units (down 4%).

Megan Thee Stallion clocks her fourth top 10 charting album on the Billboard 200, as her new release Something for the Hotties debuts at No. 5. The 21-track album compiles previously released freestyles and some unheard tracks from the artist’s vault, along with her recent hit single “Thot S—.” The latter debuted and peaked at No. 16 on the Billboard Hot 100 dated June 26. Megan Thee Stallion previously hit the top 10 on the Billboard 200 with Good News (No. 2 in 2020), Suga (No. 7, 2020) and Fever (No. 10, 2019).

A pair of former No. 1s are next up on the new Billboard 200, as Olivia Rodrigo’s Sour falls 5-6 with 35,000 equivalent album units (down 7%) and YoungBoy Never Broke Again’s Sincerely, Kentrell drops 4-7 with 34,000 units (down 12%). Lil Nas X’s Montero rises 9-8 with 30,000 units (down 9%), The Kid LAROI’s chart-topping F*ck Love climbs 11-9 with 28,000 units (down 4%) and Moneybagg Yo’s former leader A Gangsta’s Pain slides 6-10 with 27,000 units (down 26%).

Source: billboard.com

Doja Cat adds her third Hot 100 top 10.

Adele‘s “Easy on Me” rules the Billboard Hot 100 songs chart for a second week.

Plus, Doja Cat‘s “Need to Know” rises from No. 11 to No. 9 on the Hot 100, becoming her third top 10 entry.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 6) will update on Billboard.com tomorrow (Nov. 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Easy on Me,” released at 7 p.m. ET Oct. 14 on Columbia Records, drew 61.5 million radio airplay audience impressions (down 4%) and 31.8 million U.S. streams (down 41%) and sold 23,100 downloads (down 69%) in the Oct. 22-28 tracking week, according to MRC Data.

The ballad leads the Streaming Songs chart for a second week; drops to No. 3 after a week atop Digital Song Sales; and keeps at its No. 4 best on Radio Songs (down in audience in the Oct. 22-28 tracking frame, after multiple chains gave it concentrated play Oct. 14-15, helping lead to its record arrival on the airplay ranking).

A week earlier, the song vaulted 68-1 on the Oct. 30-dated Hot 100, following its first full week of tracking.

Notably, all five of Adele’s Hot 100 No. 1s have led for multiple weeks, as “Easy on Me” follows “Rolling in the Deep” (seven, 2011), “Someone Like You” (five, 2011), “Set Fire to the Rain” (two, 2012) and “Hello” (10, 2015-16). Adele spends her 26th cumulative week atop the chart (thus, the equivalent of six total months at the summit). Dating to her first week at No. 1 (May 21, 2011), Adele ties Rihanna for the most weeks atop the chart among women in that span; overall, they trail only Drake (52) and Justin Bieber (32).

The Kid LAROI and Bieber’s “Stay” keeps at No. 2 on the Hot 100, after seven weeks at No. 1, as it rules Radio Songs for a seventh week (90.8 million, up 1%).

“Stay” concurrently crowns the Pop Airplay chart for a 10th week, becoming just the 15th song to reign for double-digit weeks since the survey began in October 1992, among exactly 400 total toppers. It’s the first title to achieve the feat since Post Malone’s “Circles” (10 weeks, November 2019-February 2020).

Lil Nas X and Jack Harlow’s “Industry Baby” repeats at No. 3 on the Hot 100, two weeks after it led, as it logs a 10th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Walker Hayes’ “Fancy Like” is steady at No. 4 on the Hot 100, after reaching No. 3, as (like whipped cream atop an Applebee’s Oreo Shake) it leads the multi-metric Hot Country Songs chart for a 16th week.

Ed Sheeran’s “Bad Habits” is stationary at No. 5 on the Hot 100, after hitting No. 2; Drake’s “Way 2 Sexy,” featuring Future and Young Thug, drops 5-6, following its No. 1 entrance in September; Sheeran’s “Shivers” pushes 9-7 for a new high; and Olivia Rodrigo’s “Good 4 U” drops 7-8, after it dominated in its debut week in May.

Doja Cat’s “Need to Know” ascends to the Hot 100’s top 10, rising 11-9. The track holds at No. 10 on Streaming Songs (13.2 million, down 2%), climbs 14-12 on Radio Songs (44.1 million, up 14%) and stays at No. 35 on Digital Song Sales (2,600, up 1%).

Doja Cat collects her third Hot 100 top 10, after “Say So,” featuring Nicki Minaj, ruled for a week in May 2020 and “Kiss Me More,” featuring SZA, hit No. 3 this July. Her two latest top 10s are from her album Planet Her, which debuted as her second top 10 on the Billboard 200 (at its No. 2 peak) in July; the set has spent its first 18 weeks on the chart in the top 10, jumping 7-3 on the latest list.

Rounding out the Hot 100’s top 10, Dua Lipa’s “Levitating” dips 8-10, after hitting No. 2. It adds a 41st week in the top 10, the second-longest such run in the chart’s history. The Weeknd’s “Blinding Lights” leads with 57 weeks in the top 10 (February 2020-April 2021).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 6), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 2).

Source: billboard.com