Plus, Shawn Mendes & Justin Bieber’s “Monster” debuts at No. 8.

BTS‘ “Life Goes On” soars onto the Billboard Hot 100 songs chart at No. 1.

The song is the South Korean septet’s third Hot 100 No. 1, all in a span of three months, following “Dynamite” and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat),” the latter of which led aided by BTS remixes.

“Life Goes On” is also the first Hot 100 No. 1 in the chart’s 62-year history sung predominantly in Korean.

Plus, Shawn Mendes and Justin Bieber‘s “Monster” bounds onto the Hot 100 at No. 8.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 5) will update on Billboard.com tomorrow (Dec. 1). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Life Goes On,” released Nov. 20 on BigHit Entertainment/Columbia Records as part of BTS’ new album Be, which opens at No. 1 on the Billboard 200 chart. The song is the 1,114th No. 1 in the Hot 100’s history.

Streams, sales & airplay: “Life Goes On” drew 14.9 million U.S. streams and sold 150,000 in the week ending Nov. 26, according to Nielsen Music/MRC Data. It also earned 410,000 radio airplay audience impressions in the week ending Nov. 29 (with KJYO Oklahoma City, Oklahoma, the lone reporter to play it double-digit times: 13).

The track debuts at No. 1 on the Digital Song Sales chart and No. 14 on Streaming Songs.

(Breaking down the song’s first-week sales, it sold over 129,000 digital downloads and 20,000 physical singles. The digital download was sale-priced to 69 cents, while a cassette single sold for $6.98 and a vinyl single went for $7.98.)

BTS’ 3rd Hot 100 No. 1 in 3 months: “Life Goes On” is BTS’ third Hot 100 No. 1, all in a span of three months. Its launch atop the Dec. 5-dated chart follows “Dynamite,” which began atop the Sept. 5 survey and led for three total weeks, and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat),” which, helped by BTS remixes, topped the Oct. 17 chart.

Covering a span of exactly three months (Sept. 5-Dec. 5-dated charts), BTS scores the fastest accumulation of three Hot 100 No. 1s in over 42 years, since the Bee Gees tripled up over two months and three weeks, with a trio of singles from the Saturday Night Fever soundtrack: “How Deep Is Your Love” (three weeks at No. 1, beginning Dec. 24, 1977); “Stayin’ Alive” (four, Feb. 4, 1978); and “Night Fever” (eight, March 18, 1978).

BTS has landed its first three No. 1s more quickly than any act since The Beatles, whose first three leaders, “I Want to Hold Your Hand,” “She Loves You” and “Can’t Buy Me Love,” hit No. 1 over a span of just two months and three days (Feb. 1-April 4, 1964).

BTS is the second act with three Hot 100 No. 1s in 2020, following Ariana Grande, who has led with “Stuck With U” (with Bieber; May 23); “Rain on Me” (with Lady Gaga; June 6); and “Positions” (Nov. 7). BTS is the first act of more than two members with three songs to spend their first weeks each at No. 1 in the same year since, again, trio the Bee Gees, who sent three hits to No. 1 in 1979: “Too Much Heaven,” “Tragedy” and “Love You Inside Out.”

First duo/group with 2 No. 1 Hot 100 debuts: BTS is the first duo or group with two No. 1 Hot 100 debuts, as “Life Goes On” follows “Dynamite” in having premiered at the summit.

“Life Goes On” is the 46th single overall to start at No. 1 on the Hot 100. It’s the 11th to do so in 2020 (all since April), nearly triple the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

First predominantly non-English-language No. 1 debut: “Life Goes On” is the first song sung in a non-English language to open atop the Hot 100.

The first Hot 100 No. 1 in the Hot 100’s history sung predominantly in Korean, it’s the first No. 1 sung mostly in a language other than English since Luis Fonsi and Daddy Yankee’s predominantly Spanish-language “Despacito” (featuring Bieber), which reigned for 16 weeks in 2017. Before “Despacito,” no such song had topped the Hot 100 since Los Del Rio’s “Macarena (Bayside Boys Mix),” which ruled for 14 weeks in 1996. Before that, Los Lobos’ all-Spanish-language cover of Ritchie Valens’ “La Bamba” led in 1987.

19th No. 1 of 2020: “Life Goes On” is the 19th song to ascend to No. 1 on the Hot 100 for the first time in 2020. This year marks the highest total of songs earning their first weeks on top since 19 also did in 2006 (and the most by the first chart week of December since Nielsen Music/MRC Data-based information began fueling the chart in November 1991).

“Dynamite” back in top 5: “Dynamite,” on BTS’ album Be, rebounds from No. 14 to No. 3 on the Hot 100. Among acts of more than two members, BTS is the first to claim two spots in the Hot 100’s top three, or top five, simultaneously since The Black Eyed Peas, which doubled for five weeks in June-July 2009 with “Boom Boom Pow” and “I Gotta Feeling.”

24kGoldn’s “Mood,” featuring Iann Dior, drops to No. 2 on the Hot 100 after five nonconsecutive weeks at No. 1, with 87.3 million in airplay reach (up 2%), as it leads the Radio Songs chart for a fifth week, 21.9 million streams (down 2%) and 7,000 sold (down 13%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 14th week each and Hot Rap Songs for a seventh frame (with all three charts using the same methodology as the Hot 100).

Ariana Grande’s “Positions” slips 3-4 on the Hot 100, after it led the Nov. 7-dated chart upon its debut. It charges 14-9 on Radio Songs (47.9 million, up 27%), where it becomes her 14th top 10; dating to her first week in the tier (June 7, 2014), with “Problem,” featuring Iggy Azalea, she ties Bieber for the most top 10s in that span.

Gabby Barrett’s “I Hope,” featuring Charlie Puth, dips 4-5 on the Hot 100, after reaching No. 3, as it dominates the multi-metric Hot Country Songs chart for an 18th week, and Bieber’s “Holy,” featuring Chance the Rapper, keeps at No. 6 on the Hot 100, after debuting at its No. 3 high.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 5-7 on the Hot 100, after debuting at its No. 2 peak, and notches a fifth week atop the multi-metric Hot R&B/Hip-Hop Songs chart (where it marks Drake’s record-setting 21st No. 1).

Shawn Mendes and Justin Bieber’s “Monster” enters the Hot 100 at No. 8, with 19.1 million streams, 14.4 million in airplay audience and 17,000 sold. It starts at No. 5 on Streaming Songs and No. 7 on Digital Song Sales. (The song sold 15,000 downloads and 2,000 CD singles, with three CD versions available for $3 each: one with a cover showing both Mendes and Bieber and one each showing only Mendes and Bieber, respectively.)

Mendes earns his sixth Hot 100 top 10 and Bieber adds his 21st.

The Weeknd’s “Blinding Lights” retreats 7-9 on the Hot 100, after spending four weeks at No. 1. It banks a record-extending 41st week in the top 10, while ruling the multi-metric Hot R&B Songs chart for a record-furthering 37th week.

Rounding out the Hot 100’s top 10, Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, slips 8-10, after rising to No. 6.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 5), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 1).

Source: billboard.com

Plus: Megan Thee Stallion’s ‘Good News’ debuts at No. 2.

BTS lands its fifth No. 1 album on the Billboard 200 chart, as Be bows atop the tally. The set, which was released via Big Hit Entertainment on Nov. 20, arrives with 242,000 equivalent album units earned in the U.S. in the week ending Nov. 26, according to Nielsen Music/MRC Data. Be is the second chart-topper of 2020 for the pop group, following Map of the Soul: 7, which debuted at No. 1 on the chart dated March 7.

Also in the new top 10, Megan Thee Stallion’s Good News bows at No. 2, Taylor Swift’s former No. 1 Folklore flies 29-6 after its vinyl edition was released to Target stores and her Disney+ special premiered, and Carrie Underwood’s holiday set My Gift returns to the top 10 with a 25-10 jump.

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. 5-dated chart (where Be debuts at to No. 1) will be posted in full on Billboard‘s website on Dec. 1. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Be’s 242,000 units earned in the tracking week ending Nov. 26, album sales comprise 177,000, TEA units comprise 35,000 and SEA units comprise 30,000 (equating to 48.56 million on-demand streams of the album’s songs).

The Be album is a mostly-Korean-language release, but does feature the group’s first all-English song, “Dynamite.” The track marked the act’s first No. 1 on the Billboard Hot 100 chart dated Sept. 5. It also recently garnered the group its first Grammy Award nomination, for best pop duo/group performance. Be is the 11th mostly non-English album to hit No. 1. Of the 11 leaders that were recorded mostly in a language other than English, five have been by BTS.

The album’s first week is the largest for an album by a group, both in terms of equivalent album units and album sales, since BTS’ own last No. 1 album, Map of the Soul: 7, earned 422,000 units in its first week, of which 347,000 were in album sales (chart dated March 7).

However, unlike many other high-selling albums that benefit from an array of available formats and exclusive or limited editions, Be was only available in two formats. It was issued as a standard digital album that cost about $9 and a pricey CD edition that retailed for around $50. (Big Hit has termed the CD edition a “deluxe” package, though there is no traditional standard CD available.)

Even BTS’ last No. 1, Map of the Soul: 7, was issued in five editions – a standard digital album and four collectible CD packages (each selling for around $25).

Be’s rollout is reminiscent of the arrival of Tool’s Fear Inoculum, which debuted at No. 1 on the Billboard 200 dated Sept. 14, 2019, with 270,000 equivalent album units – of which 240,000 were in album sales. The album was initially only sold in two formats: a digital download and a limited-edition CD that cost around $45-50, and came with a 4-inch HD screen, video footage, a speaker and a 36-page booklet.

While the $50 BTS Be deluxe CD doesn’t have any technology housed in its package, it does contain paper goods such as a photobook, photocards, postcards and a poster.

BTS is the first group to land two No. 1 albums in 2020, and the second act overall, following rapper YoungBoy Never Broke Again (with 38 Baby 2 and Top).

In total, BTS has now led the Billboard 200 five times. Before Be and Map of the Soul: 7, there was Map of the Soul: Persona (April 27, 2019), Love Yourself: Answer (Sept. 8, 2018) and Love Yourself: Tear (June 2, 2018).

In turn, BTS has achieved its five No. 1 albums in just a little over two years and six months. The last act to accumulate five No. 1s quicker was Future, who logged his first five leaders in just over one year and seven months (from DS2 on Aug. 8, 2015, through HNDRXX on March 18, 2017). The last group to tally five No. 1s faster than BTS was The Beatles, who strung together five No. 1s in just under two years and five months with Yesterday and Today (July 30, 1966) and its self-titled album (often referred to as the White Album, Dec. 28, 1968). And finally, the last group to achieve its first five No. 1s faster than BTS was, again, The Beatles. The Fab Four clocked its first five No. 1s in just under one year and five months, between Meet the Beatles! (Feb. 15, 1964) and Beatles VI (July 10, 1965).

At No. 2 on the new Billboard 200, Megan Thee Stallion’s debut full-length album Good News starts with 100,500 equivalent album units earned. Of that sum, 82,500 comprise SEA units (equaling 115.85 million on-demand streams of the set’s songs), 16,000 comprise album sales and a little over 2,000 comprise TEA units. Good News is also the most streamed album of the week.

The 17-track Good News set follows a pair of top 10s from Megan Thee Stallion with the nine-track EP Suga (No. 7; May 16, 2020) and the mixtape Fever (No. 10; June 1, 2019).

The new album includes the remix version of the No. 1 Hot 100 hit “Savage,” featuring Beyoncé. The original version of “Savage” was included on Suga.

Ariana Grande’s former No. 1 Positions rises 4-3 on the new Billboard 200 with 61,000 equivalent album units earned (down 18%), Pop Smoke’s former leader Shoot for the Stars Aim for the Moon bumps up a notch to No. 4 with 52,000 units (down 3%) and Future and Lil Uzi Vert’s Pluto x Baby Pluto falls 2-5 in its second week with 46,000 units (down 56%).

Taylor Swift’s former No. 1 Folklore charges back into the top 10, rising 29-6, after the set’s vinyl edition was released to Target stores during the tracking week, her Disney+ special Folklore: The Long Pond Studio Sessions premiered on Nov. 25 and a new digital deluxe edition of the album was released.

Folklore earned 44,000 equivalent album units in the week ending Nov. 26 (up 120%), with 23,000 of that sum in album sales (up 452%). Vinyl LP sales comprise 15,000 of that sales figure (up 16,476%). Folklore’s digital album sales also increased, rising to 4,000 for the week (up 425%). A new deluxe edition of the album was issued to digital retailers on Nov. 25 that includes live versions of each of the album’s tracks (as heard in the Disney+ special Folklore: The Long Pond Studio Sessions).

Luke Combs’ former No. 1 What You See Is What You Get falls 6-7 with 41,000 equivalent album units (down 2%), Chris Stapleton’s Starting Over descends 3-8 with 37,000 units (down 64%) and Juice WRLD’s Legends Never Die dips 7-9 with 36,000 units (down 2%).

Carrie Underwood’s holiday album My Gift jumps back into the top 10, rising 25-10 with 35,000 equivalent album units earned (up 63%). The album debuted at No. 8 on the Oct. 10-dated chart, and then spent the next four weeks outside the top 50. However, it vaulted 150-39 on the Nov. 14 chart, and then rose 29-25-10 in the next three weeks, as Thanksgiving (and the heart of the Christmas season) approached.

With Starting Over, What You See Is What You Get and My Gift all in the top 10 together, it’s the first time in nearly three years that three albums which also appear on the Top Country Albums chart have all been in the top 10 of the Billboard 200 concurrently. It last happened on the Jan. 3, 2018-dated chart, when Luke Bryan’s What Makes You Country, Garth Brooks’ The Anthology: Part I, The First Five Years and Stapleton’s From A Room: Volume 2 were Nos. 8-10, respectively.

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” claims the record outright for the most weeks spent in the top 10.

24kGoldn‘s “Mood,” featuring Iann Dior, tallies a fifth week at No. 1 on the Billboard Hot 100 songs chart.

Billie Eilish‘s “Therefore I Am” bounds from No. 94 to No. 2 on the Hot 100 following its first full week of tracking. It also launches at No. 1 on the Streaming Songs chart.

Plus, The Weeknd‘s “Blinding Lights,” at No. 7 on the Hot 100, spends a 40th week in the top 10, breaking a tie with Post Malone’s “Circles” for the most weeks logged in the region in the chart’s 62-year history.ARTISTS MENTIONED

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 28) will update on Billboard.com tomorrow (Nov. 24). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 22.3 million U.S. streams (down 12%) and sold 8,000 downloads (down 35%) in the week ending Nov. 19, according to Nielsen Music/MRC Data. It also earned 84.5 million radio airplay audience impressions (down 1%) in the week ending Nov. 22.

The track spends a fourth week at No. 1 on the Radio Songs chart; dips to No. 2 on Streaming Songs after a week at the summit; and falls 2-5 on Digital Song Sales.

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 13th week each and Hot Rap Songs for a sixth frame (with all three charts using the same methodology as the Hot 100). The track concurrently tops the Pop Songs airplay chart for a fifth week, with 17,748 plays among the list’s reporting stations in the week ending Nov. 22, the most ever for a song dating to the chart’s 1992 inception. It rewrites the mark formerly held by Ed Sheeran’s “Shape of You” (17,707; April 15, 2017).

Billie Eilish’s “Therefore I Am” blasts from No. 94 to No. 2 on the Hot 100 following its first full week of tracking. Released Nov. 12, it debuted on the Hot 100 a week ago via 3.1 million streams and 5,000 downloads sold that day, as well as 11.7 million airplay audience impressions in its first four days, through Nov. 15. In its first full frame of measurement (as reflected on the latest, Nov. 28-dated charts), it drew 24.2 million streams and sold 14,000, while earning 18.3 million in radio audience.

The track debuts at No. 1 on the Streaming Songs chart, where it’s Eilish’s first leader; jumps 23-2 on Digital Song Sales; and enters Radio Songs at No. 43.

“Therefore I Am” is Eilish’s fourth Hot 100 top 10, following “Bad Guy,” which topped the chart dated Aug. 24, 2019; “Everything I Wanted” (No. 8, November 2019); and “My Future” (No. 6, this August).

With its 92-position vault, Eilish’s new single makes the fourth-greatest leap in the Hot 100’s history. Here’s a recap.

Greatest Position Gains in Billboard Hot 100’s History
Position rise, Title, Artist(s), Chart date
98 / No. 100 to No. 2, “Me!,” Taylor Swift feat. Brendon Urie, May 11, 2019
96 / No. 97 to No. 1, “My Life Would Suck Without You,” Kelly Clarkson, Feb. 2, 2009
95 / No. 96 to No. 1, “Womanizer,” Britney Spears, Oct. 25, 2008
92 / No. 94 to No. 2, “Therefore I Am,” Billie Eilish, Nov. 28, 2020
91 / No. 94 to No. 3, “Beautiful Liar,” Beyoncé & Shakira, April 7, 2007
90 / No. 94 to No. 4, “Girls Like You,” Maroon 5 feat. Cardi B, June 16, 2018

Meanwhile, with “Mood” at No. 1 and “Therefore I Am” at No. 2, artists born in the 2000s rank in the Hot 100’s top two spots simultaneously for the first time. 24kGoldn (real name: Golden Von Jones) was born Nov. 13, 2000, while Eilish was born Dec. 18, 2001. (When “Bad Guy” hit No. 1, Eilish became the first artist born in the 2000s to top the chart. Three artists born this millennium have now led, with Eilish and 24kGoldn joined by Jawsh 685; born, as Joshua Nanai, Nov. 5, 2002, his “Savage Love (Laxed – Siren Beat),” with Jason Derulo, paced the Oct. 17-dated chart, aided by BTS remixes.)

Ariana Grande’s “Positions” drops 2-3 on the Hot 100, after it led the Nov. 7-dated chart upon its debut, and Gabby Barrett’s “I Hope,” featuring Charlie Puth, dips from its No. 3 high to No. 4, as it dominates the multi-metric Hot Country Songs chart for a 17th week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 4-5 on the Hot 100, after debuting at its No. 2 peak, and adds a fourth week atop the multi-metric Hot R&B/Hip-Hop Songs chart (where it marks Drake’s record-setting 21st No. 1), while Justin Bieber’s “Holy,” featuring Chance the Rapper rises 7-6 on the Hot 100, after debuting at its No. 3 high.

The Weeknd’s “Blinding Lights” backtracks 5-7 on the Hot 100, after spending four weeks at No. 1. It banks a record 40th week in the top 10, breaking a tie with Post Malone’s “Circles” for the top total in the chart’s archives.

Most Weeks in Billboard Hot 100’s Top 10
40, “Blinding Lights,” The Weeknd, 2020
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

“Blinding Lights” rules the multi-metric Hot R&B Songs chart for a record-extending 36th week.

Rounding out the Hot 100’s top 10, Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, slides to No. 8 from its No. 6 high; Bad Bunny and Jhay Cortez’s “Dakiti” descends to No. 9 from its No. 8 best; and Pop Smoke’s “For the Night,” featuring Lil Baby and DaBaby, keeps at No. 10, a week after ranking in the top 10 for the first time since it debuted at No. 6 in July.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 28), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 24).

Source: billboard.com

Plus: Future and Lil Uzi Vert’s collab album ‘Pluto x Baby Pluto’ and Chris Stapleton’s ‘Starting Over’ bow at Nos. 2 and 3, Queen’s ‘Greatest Hits’ reaches the top 10 for the first time and YoungBoy Never Broke Again logs his fourth top 10 of 2020.

AC/DC’s Power Up debuts at No. 1 on the Billboard 200 albums chart, giving the legendary rock band its third chart-topping set.

The new studio effort was released via Columbia Records on Nov. 13 and starts with 117,000 equivalent album units earned in the U.S. in the week ending Nov. 19, according to Nielsen Music. AC/DC previously hit No. 1 with 2008’s Black Ice and 1981’s For Those About to Rock (We Salute You). All told, Power Up is AC/DC’s 26th charting album, and 10th top 10.

Also in the top 10, Future and Lil Uzi Vert’s first collaborative album, Pluto x Baby Pluto, debuts at No. 2, Chris Stapleton’s Starting Over enters at No. 3, Queen‘s Greatest Hits reaches the top 10 for the first time and the prolific YoungBoy Never Broke Again clocks his fourth top 10 of 2020 with the arrival of Until I Return at No. 10.ARTISTS MENTIONED

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. 28-dated chart (where Power Up debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 24. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Power Up’s 117,000 units earned in the tracking week ending Nov. 19, album sales comprise 111,000, SEA units comprise 5,000 (equaling 7.8 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.

Power Up charges in with the largest sales week of 2020 for a rock album. The last rock set to log a larger sales frame was Tool’s Fear Inoculum (248,000; chart dated Sept. 14, 2019).

Power Up’s sales were assisted by some retailer exclusive editions, vinyl variants and an elaborate limited edition deluxe CD package that retails for $49. (The track list across all versions of the album — CD, vinyl and digital download — is identical.)

The limited edition deluxe CD package is a pricey affair because the CD is housed in a box that features a red light-up AC/DC logo on its cover and has a built-in speaker that plays the opening bars of the album’s lead single, “Shot in the Dark.” (The company that made this deluxe set also made the similarly priced limited edition CD package for Tool’s Fear Inoculum, which was released with a 4-inch HD screen, exclusive video footage and a speaker.)

Overall, Power Up sold 71,000 on CD across all of its editions, 23,000 as a digital download album and 16,000 on vinyl LP. Power Up is the first hard rock album to hit No. 1 in over a year, since Tool’s Fear Inoculum bowed at No. 1 on the Sept. 14, 2019-dated chart.

Further, Power Up is the first Columbia release of 2020 to reach No. 1. The label last held court atop the list with Harry Styles’ Fine Line, which was released in December 2019. It ruled for two weeks (charts dated Dec. 28, 2019 and Jan. 4, 2020).

Power Up is the band’s 17th studio album and its first since 2014’s Rock or Bust and the death of founding member Malcolm Young in 2017. Power Up also brings singer Brian Johnson, drummer Phil Rudd and bassist Cliff Williams all back to the fold, alongside lead guitarist Angus Young and rhythm guitarist Stevie Young (who replaced his uncle, Malcolm, in 2014). Johnson was sidelined in 2016 (during the Rock or Bust World Tour) due to hearing loss issues, Rudd served a home-detention sentence in 2015 for methamphetamine possession and threatening to kill a former staff member and Williams announced his retirement in 2016.

Power Up was announced on Oct. 6 and was led by the single “Shot in the Dark.” The track raced to No. 1 on the Mainstream Rock Songs airplay chart dated Nov. 14 — marking the group’s fifth leader, and first No. 1 since 2008. The tune has also climbed to No. 13 on the airplay-, sales- and streaming-based Hot Rock & Alternative Songs chart.

The album was ushered in with interviews with an array of press and media outlets, including Apple Music’s Zane Lowe (Nov. 10), Associated Press (Nov. 12), USA Today (Nov. 13) and NPR’s Morning Edition (Nov. 18).

Lastly, with Power Up bowing at No. 1, AC/DC has now claimed top 10-charting albums in the 1980s, ’90s, ’00s, ’10s and ’20s. The band is the fifth act to achieve top 10s in each of the last five decades (alongside Metallica, Ozzy Osbourne, Bruce Springsteen and James Taylor) and second band or group to do so (after Metallica).

At No. 2 on the new Billboard 200, Future and Lil Uzi Vert’s first collaborative album, the surprise release Pluto x Baby Pluto, bows with 105,000 equivalent album units earned. Of that sum, 99,000 comprise SEA units (equaling 136.11 million on-demand streams of the set’s songs), 5,500 comprise album sales and a little over 500 comprise TEA units. The set was announced and released on Nov. 13, and got a mid-week bounce by the release of a deluxe edition on Nov. 17 with eight additional tracks, bringing its total track count to 24.

Pluto x Baby Pluto is the second top 10 album for Future in 2020, following his No. 1 High Off Life (May 30). As for Lil Uzi Vert, he too clocks his second top 10 of 2020, as he bowed at No. 1 with Eternal Atake on March 21.

Pluto x Baby Pluto is Future’s fourth collaborative set to chart, following joint efforts with Juice WRLD (Future & Juice WRLD Present… WRLD on Drugs, No. 2 in 2018), Young Thug (Super Slimey, No. 2 in 2017) and Drake (What a Time to Be Alive, No. 1 in 2015). Lil Uzi Vert has never released a collaborative album until now.

All told, Future has now tallied 14 top 10 albums — the most among all acts in the span since his first, Pluto, in May 2012 — while Lil Uzi Vert has three.

Chris Stapleton’s new studio album Starting Over debuts at No. 3 on the Billboard 200 with 103,000 equivalent album units earned. It’s the fourth top 10 album for the singer-songwriter, and all four have reached the top three on the tally.

Of Starting Over’s first-week units, 75,000 comprise album sales, 25,000 comprise SEA units (equaling 33.01 million on-demand streams of the set’s songs) and 3,000 comprise TEA units. The 33 million streaming number represents the second-biggest debut streaming week for a country album in 2020, following Sam Hunt’s start of 36.82 million with Southside (April 18 chart).

Outside of debut weeks in 2020, Luke Combs’ 2019 release What You See Is What You Get logged five streaming weeks larger than Stapleton in 2020, and four bigger than Hunt. What You See Is What You Get tallied 34.15 million on the May 16 chart, and then surged to a genre-record of 102.26 million on Nov. 7 (following its deluxe reissue with bonus tracks). It then continued to post big streaming numbers in the following chart weeks: 59.95 million, Nov. 14; 52.87 million, Nov. 21 and 47.93 million, Nov. 28 (the current chart).

With Power Up, Pluto x Baby Pluto and Starting Over all clearing 100,000 units in their debut frames, this is the first week in which three albums have bowed with at least 100,000 units since the Feb. 29-dated chart. That week, Justin Bieber’s Changes (231,000), A Boogie Wit da Hoodie’s Artist 2.0 (111,000) and Tame Impala’s The Slow Rush (110,000) all launched with at least 100,000 (also at Nos. 1-3, respectively).

A quartet of former No. 1s follows on the new Billboard 200, as Ariana Grande’s Positions falls 1-4 in its third week (75,000 equivalent album units; down 10%), Pop Smoke’s Shoot for the Stars Aim for the Moon dips 2-5 (53,000; down 6%), Luke Combs’ What You See Is What You Get descends 4-6 (42,000; down 8%) and Juice WRLD’s Legends Never Die is steady at No. 7 (37,000; down 7%).

With Stapleton’s Starting Over and Combs’ What You See Is What You Get Both in the top 10 at the same time, it’s the first time since Dec. 7, 2019 that two country albums have occupied the top 10 concurrently. That week, Jason Aldean’s 9 debuted at No. 2, while What You See Is What You Get sat at No. 9.

Nearly 40 years after its initial release, Queen’s Greatest Hits reaches the top 10, as the set bolts from No. 36 to No. 8 with a 133% gain in units earned (rising to 36,000). The surge is largely owed to massive vinyl sale on Nov. 14 at Walmart, where all vinyl albums in-store were marked down to $15.

In the week ending Nov. 19, Greatest Hits sold 24,000 copies across all formats (up 737%), with vinyl LPs accounting for 23,000 (up 1,006%) of that sum.

The vinyl sales were so big for Greatest Hits, it’s the top selling vinyl album in the U.S. for the week (and jumps 20-1 on Billboard’s Vinyl Albums chart) and has the second-largest sales week of 2020 for any vinyl release. It’s runner-up only to the debut frame of Tame Impala’s The Show Rush, which sold 26,000 vinyl copies on the chart dated Feb. 29.

Greatest Hits was first released in October of 1981 and has been reissued multiple times over the ensuing decades. Before this week, a 1992 edition of Greatest Hits brought the album closest to the top 10, peaking at No. 11 on Oct. 10, 1992.

Greatest Hits includes songs like “Bohemian Rhapsody” (a No. 9 Billboard Hot 100 hit in 1976, later peaking at No. 2 in 1992 thanks to its revival from its inclusion in the box office hit Wayne’s World), “Crazy Little Thing Called Love” (No. 1, 1980) and “Another One Bites the Dust” (No. 1 in 1980). Greatest Hits marks the ninth top 10 album for the band, joining the Bohemian Rhapsody soundtrack (No. 2 in 2019), Greatest Hits I, II & III: The Platinum Collection (No. 6, 2019), Classic Queen (No. 4, 1992), The Game (No. 1, 1980), Jazz (No. 6, 1979), News of the World (No. 3, 1978), A Day at the Races (No. 5, 1977) and A Night at the Opera (No. 4, 1976).

Back on the new Billboard 200, The Kid Laroi’s F*ck Love slides from its high of No. 3 to No. 9 with 35,000 equivalent album units earned (down 32%).

Closing out the top 10 is YoungBoy Never Broke Again’s new surprise mixtape Until I Return, which bows at No. 10 with 31,000 equivalent album units earned. Of Until I Return’s first-week units, 31,000 comprise SEA units (equaling 47.49 million on-demand streams of the set’s songs), 500 comprise album sales and a negligible sum comprises TEA units.

Until I Return, announced and released on Nov. 13, is YoungBoy Never Broke Again’s fourth top 10 of 2020, and sixth top 10 overall. He previously hit the region with Top (No. 1; Sept. 26), 38 Baby 2 (No. 1, May 9), Still Flexin, Still Steppin (No. 2, March 7), AI YoungBoy 2 (No. 1; Oct. 26, 2019) and Until Death Call My Name (No. 7; May 12, 2018).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” ties for the most weeks ever spent in the top 10.

24kGoldn‘s “Mood,” featuring iann dior, spends a fourth week at No. 1 on the Billboard Hot 100 songs chart. It also takes over as the most-streamed song of the week for the first time, logging its first frame atop the Streaming Songs tally.

Plus, The Weeknd‘s “Blinding Lights,” at No. 5 on the Hot 100, ties Post Malone’s “Circles” for the most weeks, 39 each, spent in the top 10 in the chart’s 62-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. 21) will update on Billboard.com tomorrow (Nov. 17). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and iann dior, drew 25.3 million U.S. streams (up 32%) and sold 13,000 downloads (up 86%) in the week ending Nov. 12, according to Nielsen Music/MRC Data. It also earned 85 million radio airplay audience impressions (up nearly 1%) in the week ending Nov. 15.

The track spends a third week at No. 1 on the Radio Songs chart; as noted above, tops Streaming Songs for the first time, surging from No. 6; and jumps 6-2 for a new peak on Digital Song Sales. It was helped by the Nov. 6 release of its remix with, in addition to 24kGoldn and dior, Justin Bieber and J Balvin (although neither Bieber nor J Balvin receives billing on the song on the Hot 100, as the remix did not outperform the original version in chart activity in the tracking week).

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 12th week each and Hot Rap Songs for a fifth frame. (All three charts employ the same methodology as the Hot 100.)

Ariana Grande’s “Positions” holds at No. 2 on the Hot 100 after it entered atop the Nov. 7-dated chart. It dips to No. 3 on Streaming Songs after two weeks at the summit (21.2 million, down 17%); climbs 28-21 on Radio Songs (31.6 million, up 14%); and ranks at No. 22 on Digital Song Sales (5,000).

Gabby Barrett’s “I Hope,” featuring Charlie Puth, rises 5-3 on the Hot 100, hitting a new high, as it posts a third week at No. 2 on Radio Songs (78.1 million, down 2%), after a week at No. 1; bounds 15-6 on Digital Song Sales (9,000, up 81%); and re-enters Streaming Songs at No. 30 (9.8 million, up 14%). The song gains in all metrics after Barrett and Puth performed it on the 54th annual Country Music Association Awards, broadcast on ABC on Nov. 11.

A week after “I Hope” completed the longest climb ever to the Hot 100’s top five, it wraps the longest journey to the top three: 46 weeks, surpassing the 43-week ascent of Imagine Dragons’ “Radioactive” in 2012-13. “I Hope” led the Country Airplay chart for a week in April and, aided by its Puth remix released that month, has segued to adult and pop radio (as it continues in the top 10 on the Adult Contemporary, Adult Pop Songs and Pop Songs airplay charts). It tops the multi-metric Hot Country Songs chart for a 16th week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, drops 3-4 on the Hot 100, after debuting at its No. 2 peak. It adds a third week atop the multi-metric Hot R&B/Hip-Hop Songs chart, where two weeks earlier it became Drake’s record-setting 21st No. 1.

The Weeknd’s “Blinding Lights” retreats 4-5 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 33rd week, while adding a record tying 39th week in the top 10, matching Post Malone’s “Circles.”

Most Weeks in Billboard Hot 100’s Top 10
39, “Blinding Lights,” The Weeknd, 2020
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

“Blinding Lights” concurrently rules the multi-metric Hot R&B Songs chart for a record-padding 35th week.

Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 6 Hot 100 high, from No. 7.

Justin Bieber’s “Holy,” featuring Chance the Rapper returns to the Hot 100’s top 10 (11-7), after debuting at its No. 3 high (Oct. 3). The track ascends 11-10 on Radio Songs (48.1 million, up 8%), becoming Bieber’s 16th top 10 and Chance the Rapper’s third (all in collaboration with Bieber; DJ Khaled’s “I’m the One,” featuring the pair, as well as Quavo and Lil Wayne, and “No Brainer,” by the same lineup except for Lil Wayne, reached Nos. 5 and 8 in 2017 and 2018, respectively).

Bad Bunny and Jhay Cortez’s “Dakiti” rises 9-8 in its second week on the Hot 100, as it holds at No. 2 on Streaming Songs with 22.2 million streams (essentially even week-over-week). It crowns the multi-metric Hot Latin Songs chart for a second week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” descends 6-9 on the Hot 100, after a week at No. 1, aided by BTS remixes.

Rounding out the Hot 100’s top 10, Pop Smoke’s “For the Night,” featuring Lil Baby and DaBaby, re-enters the tier (12-10) for the first time since it debuted at No. 6 on the July 18-dated chart. The song has spent all 19 of its weeks on the Hot 100 in the top 40, and this week posts its 15th frame in the top 20, as it holds at No. 5 on Streaming Songs (18.5 million down 6%) and debuts at No. 42 on Radio Songs (17.8 million, up 34%, good for the Hot 100’s top Airplay Gainer award).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 21), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 17).

Source: billboard.com

Plus: The Kid Laroi’s ‘F*ck Love’ hits new high, the late King Von gets first top 10, NAV’s ‘Emergency Tsunami’ debuts at No. 6.

Ariana Grande’s Positions spends a second week at No. 1 on the Billboard 200 albums chart, as the set earned 82,000 equivalent album units in the U.S. in the week ending Nov. 12 (down 53%), according to Nielsen Music/MRC Data. It bowed atop the list a week ago with 174,000 units earned.

It’s Grande’s second chart-topping album to spend two weeks at No. 1, following Thank U, Next, which spent a total of two weeks in the lead (its debut week, and second week – Feb. 23 and March 2, 2019). Positions is Grande’s fifth No. 1 album overall.

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. 21-dated chart (where Positions holds at to No. 1) will be posted in full on Billboard‘s website on Nov. 17. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Positions’ 82,000 units earned in the tracking week ending Nov. 12, SEA units comprise 73,000 (down 43%, equaling 99.5 million on-demand streams of the album’s songs), 8,000 comprise album sales (down 81%) and 1,000 comprise TEA units (down 61%).

Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon rises 3-2 with 57,000 equivalent album units earned (down 5%). With Positions and Shoot for the Stars both released via Republic Records, the company holds the top two for the eighth time in the last three months. (Shoot for the Stars was released via Victor Victor Worldwide/Republic Records.)

The Kid Laroi hits a new high on the Billboard 200, as his F*ck Love album surges to a new peak of No. 3 (up from No. 81 a week ago), following the set’s deluxe reissue on Nov. 6 with seven bonus tracks (including tunes featuring YoungBoy Never Broke Again, Marshmello and Machine Gun Kelly). For tracking and charting purposes, all versions of the album are combined, and the set earned 52,000 equivalent album units in the week ending Nov. 12 (up 458%) — a new one-week high for the artist and the album. The original 15-track album was released on July 24 and debuted at No. 8 on the Aug. 8-dated chart with 40,000 units. Both the No. 8 debut and the 40,000 units represented high-water marks for the artist until this week.

Luke Combs’ former No. 1 What You See Is What You Get is a non-mover at No. 4 on the new Billboard 200, with 46,000 equivalent album units earned (down 12%).

King Von’s Welcome to O’Block surges into the top 10, rising 13-5 in its second chart week, following the rapper’s death on Nov. 6 (the first day of the latest chart’s tracking week). The set earned 44,000 equivalent album units in the week ending Nov. 12 (up 69%). The album bowed on the chart a week ago with 26,000 units. Welcome to O’Block is the first top 10 for the late artist (born Dayvon Daquan Bennett), who died at 26 after being shot in an Atlanta nightclub.

NAV tallies his fourth top 10 album, as his mixtape Emergency Tsunami storms in at No. 6 with 42,000 equivalent album units earned. He previously visited the region with Good Intentions (No. 1 this May 23), Bad Habits (No. 1; April 6, 2019) and Reckless (No. 8; June 2, 2018). Of Emergency Tsunami’s starting sum, 35,000 comprise SEA units (equaling 46.4 million on-demand streams of the set’s songs), 7,000 comprise album sales and a negligible figure comprises TEA units.

Juice WRLD’s Legends Never Die falls one rung to No. 7 (39,000 equivalent album units; down 1%), Lil Baby’s My Turn is steady at No. 8 (33,000; down 5%), the original Broadway cast recording of Hamilton: An American Musical rises a spot to No. 9 (31,000; up 5%) and Taylor Swift’s Folklore jumps 27-10 (29,000; up 52%) thanks to a surge in vinyl album sales from Swift’s official webstore. The set sold 14,000 copies across all formats for the week (up 309%), with vinyl albums comprising 9,000 of that sum. The vinyl edition of the album has been available to order since Folklore was released on July 24, but its manufacturing and shipment was delayed. (Sales of physical albums only count once they are fulfilled to the customer.)

Source: billboard.com

Plus, Gabby Barrett & Charlie Puth’s “I Hope” completes the longest rise ever to the top five.

24kGoldn‘s “Mood,” featuring iann dior, rebounds from No. 3 to No. 1 for a third total week atop the Billboard Hot 100 songs chart.

Gabby Barrett‘s “I Hope,” featuring Charlie Puth, rises 6-5 in its 45th week on the Hot 100, wrapping the longest journey to the top five in the chart’s history.

Ariana Grande‘s “34+35” debuts at No. 8 on the Hot 100. The song joins her single “Positions,” which debuted at No. 1 a week ago and this week dips to No. 2, as her new album Positions, which includes both songs, launches at No. 1 on the Billboard 200 chart.

Plus, Bad Bunny and Jhay Cortez bound onto the Hot 100 at No. 9 with “Dakiti.”

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 14) will update on Billboard.com tomorrow (Nov. 10). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and iann dior, drew 19.2 million U.S. streams (essentially even week-over-week) and sold 7,000 downloads (down 10%) in the week ending Nov. 5, according to Nielsen Music/MRC Data. It also tallied 84.2 million radio airplay audience impressions (up 7%) in the week ending Nov. 8.

The track spends a second week at No. 1 on the Radio Songs chart, holds at No. 6 on Streaming Songs and rises 10-6 on Digital Song Sales. (It should sport further gains on next week’s charts, dated Nov. 21, following the Nov. 6 release of its remix featuring Justin Bieber, J Balvin and dior.)

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for an 11th week each and Hot Rap Songs for a fourth frame. (All three charts employ the same methodology as the Hot 100.)

Grande’s “Positions” descends to No. 2 on the Hot 100 after it entered atop the Nov. 7-dated chart. It spends a second week at No. 1 on Streaming Songs (25.6 million, down 28%) and jumps 41-28 on Radio Songs (27.5 million, up 40%), good for the Hot 100’s top Airplay Gainer award.

(A week ago, as “Positions” premiered at No. 1 on the Hot 100, Grande extended her record streak of having debuted the lead single from each of her first six proper studio albums in the top 10. “The Way,” featuring Mac Miller, opened at No. 10, ushering in her first album, Yours Truly, in 2013; “Problem,” featuring Iggy Azalea, began at No. 3 as the first single from 2014’s My Everything; the title track from Dangerous Woman bowed at No. 10 in 2016; “No Tears Left to Cry” started at No. 3, introducing Sweetener, in 2018; and the Thank U, Next title cut roared in as her first No. 1 in 2018.)

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, rises 4-3 on the Hot 100, after debuting at its No. 2 peak. It adds a second frame atop the multi-metric Hot R&B/Hip-Hop Songs chart, where a week earlier it became Drake’s record-setting 21st No. 1.

The Weeknd’s “Blinding Lights” lifts 5-4 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 32nd week, while adding a 38th week in the top 10, the second-most ever, after Post Malone’s “Circles” (39 weeks, 2019-20). “Lights” leads the multi-metric Hot R&B Songs chart for a record-furthering 34th week.

Gabby Barrett’s “I Hope,” featuring Charlie Puth, ascends 6-5 on the Hot 100, completing the longest climb ever to the top five: 45 weeks.

Longest Climbs to Hot 100’s Top Five
Weeks to Top Five, Title, Artist(s), Date Reached Top Five
45, “I Hope,” Gabby Barrett feat. Charlie Puth, Nov. 14, 2020
42, “Radioactive,” Imagine Dragons, June 29, 2013
34, “Cruise,” Florida Georgia Line feat. Nelly, June 8, 2013
30, “Jingle Bell Rock,” Bobby Helms, Jan. 4, 2020
30, “Rockin’ Around the Christmas Tree,” Brenda Lee, Dec. 21, 2019
30, “All I Want for Christmas Is You,” Mariah Carey, Jan. 5, 2019
30, “Amazed,” Lonestar, Feb. 26, 2000

Notably, the songs above have followed distinct patterns in their scenic trips to the Hot 100’s top five, with “I Hope,” “Cruise” and “Amazed” all having become country radio hits before crossing to pop formats. “I Hope” led the Country Airplay chart for a week in April and, aided by its Puth remix released that month, has segued to adult and pop radio (as it leads Adult Pop Songs for a fourth week and continues in the top 10 on Pop Songs and on Adult Contemporary).

Imagine Dragons’ “Radioactive,” the former record holder with its 42-week journey to the Hot 100’s top five, similarly crossed over from rock to pop formats.

Meanwhile, the Yuletide hits above reached the region over multiple chart runs, with strong streaming sums having aided their rises in recent years (including Mariah Carey’s coronation with 1994’s “All I Want for Christmas Is You” last holiday season).

“I Hope” concurrently tops the multi-metric Hot Country Songs chart for a 15th week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” rebounds 8-6 on the Hot 100, after a week at No. 1, aided by BTS remixes, and Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 7 high from No. 9.

Grande’s “34+35” debuts at No. 8 on the Hot 100 with 21.7 million streams, 5.7 million airplay audience impressions and 3,000 sold in the tracking week.

Grande’s “Positions” and “34+35” are both being promoted as radio singles by Republic Records, with the tracks climbing 18-15 and debuting at No. 32, respectively, on Pop Songs.

Grande adds her 18th total Hot 100 top 10 dating to her first, “The Way.” Since that song debuted at No. 10 on April 13, 2013 (before peaking at No. 9 that June), her 18 top 10s are the most among women and second only to Drake’s 31 among all acts in that span.

Bad Bunny and Jhay Cortez charge onto the Hot 100 at No. 9 with “Dakiti,” with 22.2 million streams, 3.2 million in airplay audience and 5,000 sold in the tracking week. As it concurrently starts at No. 1 on the multi-metric Hot Latin Songs chart, it’s the first title ever to have entered the Hot 100 in the top 10 and launched atop Hot Latin Songs simultaneously.

“Dakiti” is Bad Bunny’s third Hot 100 top 10, all of which have debuted in the tier. It follows his Cardi B and J Balvin team-up “I Like It,” which began at No. 8 and spent a week at No. 1, and “MIA,” featuring Drake (No. 5 debut and peak), both in 2018.

“MIA” and now “Dakiti” are the only all-Spanish-language songs ever to have debuted in the Hot 100’s top 10.

Cortez, meanwhile, earns his first Hot 100 top 10.

Rounding out the Hot 100’s top 10, Cardi B’s “WAP,” featuring Megan Thee Stallion, descends 7-10, after four weeks at No. 1.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 14), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 10).

Source: billboard.com

It’s her third No. 1 in less than two years and three months — the fastest accumulation of three No. 1 proper studio albums ever by a woman.

Ariana Grande achieves her fifth No. 1 album on the Billboard 200 chart, as her latest studio effort, Positions, debuts atop the tally. The set was released on Oct. 30 by Republic Records and launches with 174,000 equivalent album units earned in the U.S. in the week ending Nov. 5, according to Nielsen Music/MRC Data.

Positions is Grande’s third No. 1 album in less than two years and three months — the fastest accumulation of three No. 1 proper studio albums ever by a woman. More on that in a moment.

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. 14-dated chart (where Positions bows at to No. 1) will be posted in full on Billboard‘s website on Nov. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Positions’ 174,000 units earned in the tracking week ending Nov. 5, SEA units comprise 129,000 (equaling 173.54 million on-demand streams of the album’s songs), 42,000 comprise album sales and 3,000 comprise TEA units.

It’s worth noting that Positions’ album sales sum of 42,000 is not aided by either merchandise/album bundles or concert ticket/album sale redemption offers. In the past, Grande’s album sales — like many other artists’ albums — have benefitted from both sorts of offers. Merchandise/album bundles and ticket/album bundles both ceased to count towards chart sales as of Oct. 9.

In terms of overall equivalent album units earned, Positions has the highest one-week total for an album since bundles stopped factoring into chart and sales rankings.

Positions’ streaming start of 173.54 million clicks is the second-largest streaming week for a non-R&B/hip-hop or Latin album in 2020. Only Taylor Swift’s Folklore managed a larger streaming sum this year, in its debut week, among non-R&B/hip-hop and Latin titles, with 289.85 million streams.

The Positions album arrived with little advance notice and was first teased by Grande on Oct. 14, when she stated a new album was due out by the end of October. Grande is the latest female pop star to spring a No. 1 album on the public with little notice, following Swift, who announced her Folklore album on July 23, the day before it was released. Like Positions, Folklore also debuted at No. 1.

Positions was led by its title track as its first single, which debuted at No. 1 on the Billboard Hot 100 songs chart dated Nov. 7 (marking her fifth Hot 100 No. 1, and record-extending fifth No. 1 debut).

Grande first reached No. 1 on the Billboard 200 chart with her debut album, Yours Truly, which opened at No. 1 on the Sept. 21, 2013-dated chart. She followed it with My Everything (Sept. 13, 2014), Sweetener (Sept. 1, 2018), Thank U, Next (Feb. 23, 2019; it’s her only set to lead for two weeks to-date) and now Positions (Nov. 14, 2020, chart).

Grande’s three most recent No. 1s have all come within the last two years and two and-a-half months. That’s the fastest accumulation of three No. 1s by a female artist in more than a decade — since Miley Cyrus accrued a trio of No. 1s in one year and nearly 10 months, between July 14, 2007, and May 2, 2009. Cyrus did it with Hannah Montana 2 (Soundtrack)/Meet Miley Cyrus (July 14, 2007), Breakout (Aug. 9, 2008) and the Hannah Montana: The Movie soundtrack (May 2, 2009).

If one set aside artist-credited soundtracks, the last woman to notch three No. 1s faster than Grande was Donna Summer, who scored her three total No. 1s in just one year and two months — over 40 years ago. Summer first hit No. 1 with Live and More (Nov. 11, 1978), and followed it with Bad Girls (June 16, 1979) and On the Radio: Greatest Hits Volumes I & II (Jan. 5, 1980).

Summer’s three No. 1s were a live album (with a couple new studio recordings as bonus tracks), a studio project and a greatest hits set, respectively. Grande, however, has claimed her three latest leaders all via proper studio albums. No woman in the history of the Billboard 200 chart, which began publishing on a regular weekly basis in March of 1956, has claimed three No. 1 proper studio albums faster than Grande.

Among male artists, the last act to tally three No. 1s in a shorter amount of time was rapper YoungBoy Never Broke Again just a few months ago. He scored his three total No. 1s in less than a year with AI YoungBoy 2, 38 Baby 2 and Top, between Oct. 26, 2019 and Sept. 26, 2020.

Among groups, most recently BTS has logged all four of its No. 1 albums in less than two years. The group first led the chart with Love Yourself: Tear, and followed it with Love Yourself: Answer, Map of the Soul: Persona and Map of the Soul: 7, all between June 2, 2018 and March 7, 2020.

At No. 2 on the new Billboard 200, rapper Trippie Redd keeps up his prolific pace, as he logs his fifth top five-charting album in a little over two years. His latest release Pegasus flies in at No. 2 with 60,000 equivalent album units earned. Of that sum, 56,000 comprise SEA units (totaling 79.22 million on-demand streams of the set’s songs), 4,000 comprise album sales and a negligible number total TEA units.

Since Trippie Redd achieved his first top five charting set with Life’s a Trip on Aug. 25, 2018, no other act has claimed five top five efforts. Since Life’s a Trip, he added top five sets with A Love Letter to You 3 (No. 3, Nov. 24, 2018), ! (No. 3, Aug. 24, 2019), A Love Letter to You 4 (No. 1, Dec. 7, 2019) and now Pegasus (Nov. 14, 2020).

Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon holds at No. 3 with 60,000 equivalent album units (down 3 percent), while Luke Combs’ What You See Is What You Get falls 1-4 with 52,000 units (down 52 percent).

Sam Smith nabs their third consecutive top five album in a row, as Love Goes debuts at No. 5 with 41,000 equivalent album units. Of that figure, 22,000 comprise SEA units (equaling 29.66 million on-demand streams of the album’s songs), 18,000 comprise album sales and 1,000 comprise TEA units.

Smith collected their first top five effort with full-length debut album In the Lonely Hour, which peaked at No. 2 on July 5, 2014. Their second album, The Thrill of It All, debuted at No. 1 on the Nov. 25, 2017-dated chart.

Juice WRLD’s former No. 1 Legends Never Die descends 5-6 with 40,000 equivalent album units earned (down 5 percent).

After more than a decade away from the Billboard 200, Busta Rhymes returns to the list, as his new studio album ELE 2: The Wrath of God bows at No. 7 with 38,000 equivalent album units. Of that sum, 20,000 comprise SEA units (totaling 27.78 million on-demand streams of the album’s songs), 17,000 comprise album sales and 1,000 comprise TEA units. The hip-hop veteran last debuted on the list, and was last in the top 10, with Back on My B.S., which debuted and peaked at No. 5 on the June 6, 2009-dated chart.

The new album is a guest-laden affair, boasting featured turns from Kendrick Lamar, Mary J. Blige, Mariah Carey, Eminem and more.

In total, Rhymes has now claimed seven top 10s, stretching back to his debut set, The Coming, which peaked at No. 6 on April 13, 1996. Among his seven top 10s is one No. 1, The Big Bang (July 1, 2006).

Lil Baby’s former leader My Turn falls one rung to No. 8 on the new Billboard 200, with 35,000 equivalent album units (down less than 1 percent).

R&B singer Queen Naija sees her debut full-length studio album Missunderstood bow at No. 9 with 34,000 equivalent album units earned. Of that sum, 24,000 comprise SEA units (totaling 33.87 million on-demand streams of the set’s songs), 9,000 comprise album sales and a negligible figure totals TEA units.

Closing out the new top 10 is the original Broadway cast recording of Hamilton: An American Musical, which falls 8-10 with 30,000 equivalent album units earned (up less than 1 percent).

Source: billboard.com

Both songs make history upon their entrances.

Ariana Grande‘s “Positions” debuts at No. 1 on the Billboard Hot 100 songs chart, while Luke Combs‘ “Forever After All” bounds in at No. 2.

Grande earns her fifth Hot 100 leader and extends her record for the most No. 1 debuts on the Hot 100, as all five of her No. 1s have blasted in at the summit.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Nov. 7) will update on Billboard.com tomorrow (Nov. 3). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Positions,” released Oct. 23 on Republic Records as the title track from Grande’s new album, released Oct. 30. The song is the 1,113th No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: “Positions” drew 35.3 million U.S. streams and sold 34,000 in the week ending Oct. 29, according to Nielsen Music/MRC Data. It also tallied 19.9 million radio airplay audience impressions in the week ending Nov. 1.

The track opens at No. 1 on the Streaming Songs chart, where it’s Grande’s third leader, No. 2 on Digital Song Sales and No. 41 on Radio Songs.

(Breaking down the song’s first-week sales, it sold 31,000 digital downloads and 3,000 CD singles that were available in Grande’s webstore for $5 each.)

Grande’s 5th No. 1 … & record 5th No. 1 debut: Here is a recap of Grande’s five Hot 100 No. 1s, all of which have debuted in the top spot.

Title, Weeks at No. 1, Date Debuted No. 1
“Thank U Next,” seven, Nov. 17, 2018
“7 Rings,” eight, Feb. 2, 2019
“Stuck With U,” with Justin Bieber, one, May 23, 2020
“Rain on Me,” with Lady Gaga, one (to date), June 6, 2020
“Positions,” one (to date), Nov. 7, 2020

Grande makes history as the first artist with five Hot 100 No. 1 debuts. She extends her lead over Justin Bieber, Mariah Carey, Drake and Travis Scott, each with three.

Grande also becomes the first artist with three No. 1 Hot 100 debuts in a single year, as “Positions” joins “Rain on Me” and “Stuck With U” as her three 2020 chart-topping entrants.

Earning the trio in a span of five months and two weeks, Grande bests Travis Scott (a week shy of a year in 2019-20) for the fastest accumulation of three No. 1 Hot 100 debuts.

Grande’s third No. 1 this year: Grande is the first artist to send three songs to No. 1 on the Hot 100 in a single year since Drake tripled up in 2018. She’s the first woman (and only act other than Drake) to achieve the feat since Rihanna ascended to No. 1 with four songs and Katy Perry did so with three, both in 2010.

The Beatles hold the one-year record via their first six Hot 100 No. 1s in 1964.

10th No. 1 debut of 2020: “Positions” is the 45th single to start at No. 1 on the Hot 100. It’s the 10th to do so in 2020 (all since April), more than doubling the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

18th No. 1 of 2020: “Positions” is the 18th song to ascend to No. 1 on the Hot 100 for the first time in 2020. This year marks the highest total of songs earning their first weeks on top since 18 also did in 2007 (and the most by the first chart week of November since Nielsen Music/MRC Data-based information began fueling the chart in November 1991).

Luke Combs’ “Forever After All” soars onto the Hot 100 at No. 2, marking his first top 10. He previously reached a No. 11 best with “Even Though I’m Leaving” in November 2019.

“Forever” is from Combs’ album What You See Is What You Get, which returns to No. 1 on the Billboard 200 after the track was among those added to its Oct. 23 deluxe reissue (dubbed What You See Ain’t Always What You Get; “Leaving” has been a part of the LP since its original release in November 2019). “Forever” starts with 29.1 million U.S. streams, good for a No. 2 arrival on Streaming Songs, 873,000 airplay audience impressions and 52,000 sold, as it opens as Combs’ first No. 1 on Digital Song Sales.

“Forever” concurrently enters atop the Hot Country Songs chart (which uses the same methodology as the Hot 100), where it’s Combs’ third No. 1.

Digging (combing?) deeper:

Highest Hot 100 debut ever for a male country artist: “Forever After All” makes the highest Hot 100 debut ever for a song that has also appeared on Hot Country Songs by a solo male, surpassing the No. 5 debut of “Lost in You” by Garth Brooks’ alter ego Chris Gaines in September 1999.

Among all songs that have appeared on Hot Country Songs, only one has debuted higher on the Hot 100 than “Forever”: Carrie Underwood’s “Inside Your Heaven,” which premiered at No. 1 on the Hot 100 dated July 2, 2005, following her coronation as that year’s American Idol champion.

Debuts at Nos. 1 & 2: Thanks to Grande’s “Positions” and Combs’ “Forever After All,” the Hot 100 sports simultaneous debuts at Nos. 1 and 2 for just the third time ever. Such a twofer last occurred on the Nov. 14, 2015, chart, with Adele’s “Hello” at No. 1 and Bieber’s “Sorry” at No. 2.

Before that, on the June 28, 2003, Hot 100, Clay Aiken’s “This Is the Night” and Ruben Studdard’s “Flying Without Wings” entered at Nos. 1 and 2, respectively, reversing their finishes that season on American Idol. (Underwood’s achievement cited above and Aiken’s and Studdard’s clearly reflect how Idol, at its peak, could help songs make big Hot 100 bows in the early- to mid-2000s.)

Two country hits in top 10: Meanwhile, two top 10 Hot Country Songs hits appear in the Hot 100’s top 10 together, as Combs’ “Forever After All,” at No. 2, is joined by Gabby Barrett’s “I Hope,” featuring Charlie Puth, which holds at its No. 6 high. (The latter ranks at No. 2 on Hot Country Songs after 14 weeks at No. 1.)

While it’s the first such double-up since only the chart dated Aug. 29, when Morgan Wallen’s “7 Summers” started at No. 6 on the Hot 100 and “I Hope” hit the top 10 at No. 10, the feat hadn’t previously occurred in over 20 years, since May 13, 2000, when Faith Hill’s “Breathe” and Lonestar’s “Amazed” placed at Nos. 3 and 10 on the Hot 100, respectively.

24kGoldn’s “Mood,” featuring iann dior, dips to No. 3 on the Hot 100 after two weeks at No. 1, with 79 million in radio reach, 19.2 million streams and 7,000 sold. The song takes over at No. 1 on Radio Songs, where it’s each act’s first leader. Completing an eight-week trip to the top of Radio Songs, it wraps the quickest rise to No. 1 this year, and the fastest since Lizzo’s “Good as Hell” also needed just eight weeks to reign in November 2019. “Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 10th week each and Hot Rap Songs for a third frame.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, drops 3-4 on the Hot 100, after debuting at its No. 2 peak. It concurrently hits No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart, where Drake achieves his 21st leader, breaking out of a tie with late legend Aretha Franklin and Stevie Wonder (20 each) for the most No. 1s in the chart’s history.

The Weeknd’s “Blinding Lights” descends 4-5 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 31st week, while adding a 37th week in the top 10, the second-most ever, after Post Malone’s “Circles” (39 weeks, 2019-20). “Lights” leads the multi-metric Hot R&B Songs chart for a record-furthering 33rd week.

Rounding out the Hot 100’s top 10, Barrett’s “I Hope,” featuring Puth, as noted above, holds at No. 6; Cardi B’s “WAP,” featuring Megan Thee Stallion, tumbles 2-7, after four weeks at No. 1; Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” retreats 5-8, after a week at No. 1, aided by BTS remixes; Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 9 high from No. 10; and Justin Bieber’s “Holy,” featuring Chance the Rapper, recedes 9-10, after opening at No. 3.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 7), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 3).

Source: billboard.com

The set’s deluxe reissue prompts its 21-1 jump back to the top. Plus: Bruce Springsteen and Ty Dolla $ign start in the top five.

Luke Combs’ What You See Is What You Get album vaults back to No. 1 on the Billboard 200 chart for a second total week, following its deluxe reissue on Oct. 23 — and sets a new weekly streaming record for a country album.

The set, which debuted atop the list dated Nov. 23, 2019, zooms from No. 21 to No. 1 with 109,000 equivalent album units earned in the U.S. in the week ending Oct. 29 (up 399 percent), according to Nielsen Music/MRC Data. The album was reissued on Oct. 23 with a handful of additional songs, bringing its total song count to 23.

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. 7-dated chart (where What You See Is What You Get returns to No. 1) will be posted in full on Billboard‘s website on Nov. 3. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of What You See Is What You Get’s 109,000 units earned in the tracking week ending Oct. 29, SEA units comprise 76,000 (up 289 percent; equaling 102.26 million on-demand streams of the album’s songs), 22,000 comprise album sales (up 1,734 percent) and 11,000 comprise TEA units (up 904 percent).

What You See Is What You Get’s streaming total of 102.26 million weekly streams for its songs breaks its own record for the largest streaming week for a country album. It first set the record in its debut week (ending Nov. 14, 2019 – chart dated Nov. 23), when it racked up 74 million streams. (Note: Since January, streams on the Billboard 200 now include both on-demand audio and video streams. Before that, streams were audio only. That said, even counting just audio streams for What You See in the latest week, it would still have the biggest week country streaming week ever.)

What You See Is What You Get is also only the second country album to reach No. 1 in 2020 (following Kenny Chesney’s Here and Now on May 16).

Among the new cuts added to the tracklist of What You See Is What You Get are the hit songs “Six Feet Apart” (No. 10 peak on Hot Country Songs in May) and “Without You” (No. 15 on Hot Country Songs). Also included is the new song “Forever After All,” which is expected to make a high debut on both Hot Country Songs and the all-genre Billboard Hot 100 chart dated Nov. 7.

Notably, the 11-month and 15-day gap between weeks at No. 1 for What You See is the longest wait since early 2018, when Bon Jovi’s This House Is Not a Home returned to No. 1 after 15 months.

Bruce Springsteen’s new album Letter to You debuts at No. 2 on the new Billboard 200, as he becomes the first act with new top five-charting albums in each of the last six decades (1970s, ‘80s, ‘90s, 2000s, ‘10s and the ‘20s). Letter to You is Springsteen’s 20th studio effort. Further, Letter to You is the top selling album of the week, debuts at No. 1 on the Album Sales chart and launches with Springsteen’s biggest sales week for any album since 2014.

Letter to You bows with 96,000 equivalent album units earned (Springsteen’s largest week, in terms of units, since the Billboard 200 began measuring in consumption units in December 2014). Of that sum, 92,000 comprise album sales, 4,000 comprise SEA units (totaling 5.37 million on-demand streams of the set’s songs) and less than 1,000 comprise TEA units.

Letter to You’s sales start of 92,000 is Springsteen’s best sales week since High Hopes debuted at No. 1 with 99,000 copies sold on the chart dated Feb. 1, 2014.

All told, Letter to You is Springsteen’s 21st top 10 and top five-charting album. (All 21 of his top 10 efforts also reached the top five.)

Springsteen logged two top five sets in the 1970s (Born to Run, No. 3 in 1975 and Darkness on the Edge of Town, No. 5 in 1978), five in the ‘80s (The River, No. 1 in 1980; Nebraska, No. 3 in 1982; Born in the U.S.A., No. 1 in 1984; the live album Bruce Springsteen & The E Street Band 1975-1985, No. 1 in 1986; and Tunnel of Love, No. 1 in 1987), three in the 1990s (Human Touch, No. 3 in 1992; Lucky Town, No. 3 in 1992; and Greatest Hits, No. 1 in 1995), six in the ‘00s (Live in New York City, No. 5 in 2001; The Rising, No. 1 in 2002; Devils & Dust, No. 1 in 2005; We Shall Overcome: The Seeger Sessions, No. 3 in 2006; Magic, No. 1 in 2007; and Working On a Dream, No. 1 in 2009), four in the ‘10s (Wrecking Ball, No. 1 in 2012; High Hopes, No. 1 in 2014; Chapter and Verse, No. 5 in 2016; and Western Stars, No. 2 in 2019) and now one in the ‘20s (Letter to You, No. 2 in 2020).

Letter to You sold well on vinyl, with 18,000 of its sales coming from the format — the second-largest sales week for a vinyl album in 2020 (trailing only to the debut week of Tame Impala’s The Slow Rush, with 26,000 sold; chart dated Feb. 29). Letter to You was also a hot seller with independent record stores, as it moved 16,000 of its total 92,000 via indie stores.

Letter to You launches at No. 1 both the Vinyl Albums and Tastemaker Albums charts. The latter list ranks the top selling albums of the week at indie and small chain record stores.

Letter to You was led by its title track, which has risen to No. 2 on the Adult Alternative Songs airplay chart (through the most recently published chart dated Oct. 31).

Back on the new Billboard 200 chart, Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon falls 2-3 with 61,000 equivalent album units earned (down 8 percent).

Ty Dolla $ign scores his highest charting album ever and first top 10, as Featuring Ty Dolla $ign bows at No. 4 with 44,000 equivalent album units earned. Of that sum, 39,000 comprise SEA units (totaling 50.83 million on-demand streams of its songs), 4,000 comprise album sales and 1,000 comprise TEA units. He previously peaked as high as No. 11 with Beach House 3 in 2017.

A trio of former No. 1s are next up on the new Billboard 200, as Juice WRLD’s Legends Never Die falls 4-5 (42,000 equivalent album units earned; down 6 percent), 21 Savage and Metro Boomin’s Savage Mode II slips 3-6 (36,000; down 24 percent) and Lil Baby’s My Turn is a non-mover at No. 7 (35,000 units; down 4 percent).

The original Broadway cast recording of Hamilton: An American Musical is steady at No. 8 with 29,000 equivalent album units earned (down 9 percent), while Machine Gun Kelly’s previous leader Tickets to My Downfall holds at No. 9 with 28,000 units (down 6 percent).

Harry Styles’ former No. 1 Fine Line returns to the top 10, climbing from No. 20 to No. 10, following the Oct. 26 release of the set’s new video for the song “Golden.” The album earned 27,000 equivalent album units (up 20 percent).

Source: billboard.com