Eminem adds his 22nd Hot 100 top 10.

Roddy Ricch‘s “The Box” posts a third week at No. 1 on the Billboard Hot 100.

Meanwhile, Eminem‘s “Godzilla,” featuring Juice WRLD, blasts onto the Hot 100 at No. 3. The track is from Eminem’s new album, Music to Be Murdered By, which launches at No. 1 on the Billboard 200 chart.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Feb. 1) will update on Billboard.com tomorrow (Jan. 28).

“The Box,” released on Bird Vision/Atlantic Records, logs a fourth week at No. 1 on the Streaming Songs chart, down by 3% to 75 million U.S. streams in the week ending Jan. 23, according to Nielsen Music/MRC Data. The latest streaming total and the sum the week before (77.2 million) mark the two highest weekly tallies for a song over the past six months, both so far without the aid of an official proper video — although one has, according to the label, recently been filmed. The song’s official audio video was released on Dec. 6, while a lyric video arrived Jan. 9.

The track dips 7-8 on Digital Song Sales, down 5% to 13,000 sold in the week ending Jan. 23, while jumping 50-36 on Radio Songs, bounding by 38% to 25.6 million all-format airplay audience impressions in the week ending Jan. 26. It surges to the top 10 on both the Rhythmic Songs (15-10) and Mainstream R&B/Hip-Hop (20-10) radio airplay charts and debuts at No. 40 on the mainstream top 40-based Pop Songs airplay ranking, helping it claim top Airplay Gainer honors on the Hot 100 for the first time.

“The Box” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a fourth week each. The single is from Roddy Ricch’s debut studio album, Please Excuse Me for Being Antisocial, which bowed as the rapper’s first No. 1 on the Billboard 200, dated Dec. 21.

Future’s “Life Is Good,” featuring Drake, holds at No. 2 on the Hot 100, after it debuted in the runner-up spot a week ago. It keeps at No. 2 on Streaming Songs (which utilizes a weighted ranking methodology; 40.9 million, down 19%) and falls from No. 1 to No. 13 on Digital Song Sales (9,000, down 64%).

Eminem’s “Godzilla,” featuring Juice WRLD, soars in at No. 3 on the Hot 100. The collaboration also arrives at No. 3 on both Streaming Songs (41.1 million U.S. streams) and Digital Song Sales (24,000 sold).

Eminem earns his 22nd Hot 100 top 10, marking the 16th-highest total in the chart’s archives and the eighth-highest among solo males. The updated leaderboard for most Hot 100 top 10s, dating to the list’s Aug. 4, 1958, inception: Madonna (38); Drake (36); The Beatles (34); Rihanna (31); Michael Jackson (30); Mariah Carey, Stevie Wonder (28 each); Elton John, Janet Jackson (27 each); Elvis Presley, Taylor Swift (25 each); Lil Wayne (24); Whitney Houston, Paul McCartney, The Rolling Stones (23 each); and Eminem (22).

Eminem also achieves 13th debut in the Hot 100’s top 10, the third-most after Drake (22) and Swift (15).

Meanwhile, the late Juice WRLD appears in the Hot 100’s top 10 with a third title. “Lucid Dreams” hit No. 2 in October 2018 (and returned to the region, at No. 8, last month following his death on Dec. 8) and “Bandit,” with YoungBoy Never Broke Again, reached No. 10 this past October.

Post Malone’s “Circles” drops 3-4 on the Hot 100, after three nonconsecutive weeks at No. 1, as it scores a sixth week atop Radio Songs, up by 1% to 102.8 million in airplay audience.

Rounding out the Hot 100’s top five, Maroon 5’s “Memories” slips 4-5, after reaching a No. 2 high.

Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” rebounds 7-6 on the Hot 100, as it tops the multi-metric Hot Country Songs chart for a 16th week, as well as Country Airplay for a second frame. As previously reported, the latter chart marks the 10th airplay ranking that Bieber has ruled, dating to his first such No. 1, “As Long as You Love Me” (featuring Big Sean), which reached the Rhythmic Songs summit in October 2012.

Tones and I’s “Dance Monkey” swings back to its No. 7 Hot 100 highpoint, from No. 8; Lewis Capaldi’s “Someone You Loved” descends 6-8, following its three-week command; Arizona Zervas’ “Roxanne” remains at No. 9, after rising to No. 4; and Selena Gomez’s “Lose You to Love Me” falls 5-10, following its one-week rule.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Jan. 28), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Halsey and Mac Miller debut in top three.

Eminem notches his historic 10th No. 1 album on the Billboard 200 chart with his latest release, Music to Be Murdered By. The set debuts atop the tally with 279,000 equivalent album units earned in the U.S. in the week ending Jan. 23, according to Nielsen Music.

Music to Be Murdered By was surprise-released on Jan. 17 via Shady/Aftermath/Interscope Records. It’s Eminem’s first album since another surprise release, Kamikaze, which dropped in 2018 and bowed 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). The new Feb. 1-dated chart (where Music to Be Murdered By debuts at No. 1) will be posted in full on Billboard‘s websites on Jan. 28.

Of Music to Be Murdered By’s total starting sum of 279,000 units, 154,000 are in SEA units, 117,000 are in album sales, and 8,000 are in TEA units. The 154,000 SEA sum equates to 217.6 million on-demand streams for the album’s tracks. That’s the largest streaming week for an album in four months (even counting just audio streams alone), since Post Malone’s Hollywood’s Bleeding tallied 220.9 million clicks in its second week of release (chart dated Sept. 28, 2019).

Here’s a look at some of the amazing feats Eminem achieves with his latest No. 1:

One of Only Six Acts With 10 or More No. 1 Albums: Eminem is just the sixth act with at least 10 No. 1 albums. He joins The Beatles (with a record 19), Jay-Z (14), Bruce Springsteen (11), Barbra Streisand (11) and Elvis Presley (10).

Record-Extending 10th No. 1 Debut in a Row: Eminem breaks out of a tie with Kanye West for the most No. 1 debuts in a row on the Billboard 200, as Music to Be Murdered By clocks his 10th consecutive chart-topping arrival. West most recently notched his ninth straight No. 1 debut with Jesus Is King in 2019.

Record-Extending 10th Consecutive No. 1: For both Eminem and West, all of their No. 1s have been consecutive, and all also debuted at No. 1. In turn, Eminem also shakes off a tie with West for the most No. 1 albums in a row.

For both artists, they have only missed No. 1 once in their entire charting history: Eminem with his first entry, 1999’s The Slim Shady LP, and West with his first effort, 2004’s The College Dropout. Both albums debuted and peaked at No. 2.

Back on the new Billboard 200, Halsey’s Manic debuts at No. 2, marking her third straight album to bow in the top two on the tally. Further, as Manic starts with 239,000 equivalent album units earned, it marks Halsey’s biggest week ever, and the largest week for an album by a woman since Taylor Swift’s Lover blew in at No. 1 with 867,000 units on the chart dated Sept. 7, 2019.

Also impressive: Manic’s 239,000-unit start is the biggest week for a No. 2 album since May 14, 2016, when Beyoncé​’s Lemonade was in its second week on the tally (321,000 units).

Manic follows Halsey’s Hopeless Fountain Kingdom (No. 1 in 2017), and Badlands (No. 2 in 2015). In addition, she notched an entry with the 2014 EP Room 93, which topped out at No. 159.

Of Manic’s debut unit sum of 239,000 units, album sales comprise 180,000, while SEA units total 56,000 (equating to 75.6 million on-demand streams of songs on the album) and TEA units account for 3,000. Manic’s first-week album sales number was mostly driven by sales generated by a concert ticket/album sale redemption offer with Halsey’s upcoming U.S. tour, as well as an array of merchandise/album bundles sold through her official webstore.

The third and final debut in the top 10 is Mac Miller’s first posthumous album, Circles. The set marks Miller’s sixth top 10, and it begins with 164,000 equivalent album units earned. That is Miller’s biggest week for an album, in terms of units earned, since the chart began ranking by equivalent album units in December of 2014.

Of Circles’ start of 164,000 units, 102,000 are SEA (equating to 153.5 million on-demand streams of tunes from the set), 61,000 are album sales (boosted by merchandise/album bundles sold through Miller’s website) and a little over 1,000 are TEA units.

Circles closes out a busy top three on the tally — where Nos. 1-3 are all debuts, and all start with 164,000-plus units. That’s the first time the chart’s top three have all been debuts north of 164,000 units since the chart began ranking titles by equivalent album units in December of 2014.

Further, setting aside debuts in the top three, this is the first time that the top three albums of the week have earned over 164,000 units in more than three years. It last happened on the June 11, 2016 list, when Drake’s Views held at No. 1 with 189,000, Ariana Grande’s Dangerous Woman debuted at No. 2 with 175,000, and Blake Shelton’s If I’m Honest entered at No. 3 with 170,000.

Back in the Billboard 200’s new top 10, Roddy Ricch​’s Please Excuse Me for Being Antisocial falls 2-4 with 103,000 equivalent album units earned (down 7%), while Post Malone’s Hollywood’s Bleeding slips 4-5 with 53,000 units (down 12%). Selena Gomez’s Rare descends 1-6 with 38,000 units (down 66%), Moneybagg Yo’s Time Served slides 3-7 with 37,000 units (down 43%) and DaBaby​’s Kirk falls 5-8 with 37,000 units (down 14%).

Closing out the new top 10: Harry Styles’ Fine Line drops 6-9 with 36,000 equivalent album units earned (down 12%) and Billie Eilish​’s When We All Fall Asleep, Where Do We Go? moves 9-10 with 35,000 units (up 2%).

Source: billboard.com

Plus: Moneybagg Yo’s “Time Served” launches at No. 3.

Selena Gomez earns her third No. 1 album on the Billboard 200 chart, as Rare launches atop the tally. The set, which was released Jan. 10 via Interscope Records, starts with 112,000 equivalent album units earned in the U.S. in the week ending Jan. 16, according to Nielsen Music.

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). The new Jan. 25-dated chart (where Rare bows at No. 1) will be posted in full on Billboard‘s websites on Wednesday, Jan. 22 (one day later than usual, owed to the Martin Luther King Jr. Day holiday on Monday, Jan. 20).

In total, Rare’s start of 112,000 units was powered by nearly 56,000 in SEA units (equating to 79.3 million on-demand streams for album’s tracks), just under 53,000 in album sales, and a little over 3,000 in TEA units. (All numbers are rounded to the nearest thousand.)

Notably, unlike many releases, Rare’s bow was not enhanced by album sales generated from a concert ticket/album sale redemption offer. However, it did get an assist from sales of many merchandise/album bundles sold via Gomez’s official website, as well as a deluxe CD with bonus tracks available only at Target.

Rare is Gomez’s sixth top 10 album on the Billboard 200 in total — the entirety of her studio efforts (both as a proper solo artist, and those with former backing band The Scene). Here’s a rundown of Gomez’s top 10s: Rare (No. 1), Revival (in 2015, No. 1), Stars Dance (2013, No. 1); and then her three projects with The Scene, When the Sun Goes Down (2011, No. 3), A Year Without Rain (2010, No. 4) and Kiss and Tell (2009, No. 9). The only Gomez album to miss the top 10 is the greatest hits package For You, which peaked at No. 24 in 2014.

Rare was led by the songs “Lose You to Love Me” and “Look at Her Now.” The former became her first No. 1 on the Billboard Hot 100 chart, vaulting 15-1 on the list dated Nov. 9, 2019.

At No. 2 on the new Billboard 200, Roddy Ricch​’s Please Excuse Me for Being Antisocial falls one rung with 110,000 equivalent album units earned — though the set is up by 14% for the week (compared to the 97,000 units it tallied in the previous week). The rapper’s album continues to profit from the huge streaming popularity of its song “The Box,” which jumped to No. 1 on the Hot 100 chart a week ago (dated Jan. 18).

Of Please Excuse Me’s total unit sum of 110,000 in the week ending Jan. 16, the vast majority was driven by streaming activity. 107,000 of its overall total are SEA units (up 13%), while just under 2,000 are TEA units (up 22%) and a little over 1,000 are album sales (up 30%). The album’s 107,000 SEA units sum equates to 163.04 million in on-demand streams for the set’s songs in the tracking week.

The second and final debut in the top 10 on the new Billboard 200 chart is Moneybagg Yo’s new Time Served, which starts at No. 3. The effort secures the rapper his highest charting album, as it enters with 66,000 equivalent album units earned, driven largely by streaming activity (59,000 SEA units, which translates to 84.1 million on-demand streams for the set’s songs during the week). Moneybagg Yo previous visited the top 10 with 43VA Heartless (No. 4 in 2019) and Federal 3x (No. 5 in 2017).

The rest of the new top 10 comprises former No. 1s. Post Malone’s Hollywood’s Bleeding dips 2-4 with 60,000 equivalent album units (down 8%), DaBaby’s Kirk rises 6-5 with 43,000 units (up 5%) and Harry Styles’ Fine Line falls 3-6 with 41,000 units (down 16%). Jackboys’ self-titled album descends 4-7 with 38,000 units (down 18%), the Frozen II soundtrack slips 5-8 with 35,000 units (down 15%), Billie Eilish​’s When We All Fall Asleep, Where Do We Go? moves 7-9 with 35,000 units (down 8%) and Young Thug’s So Much Fun dips 8-10 with 32,000 units (down 7%).

Source: billboard.com

Drake ties for the most Hot 100 entries all-time.

Roddy Ricch‘s “The Box” spends a second week at No. 1 on the Billboard Hot 100.

Meanwhile, Future‘s “Life Is Good,” featuring Drake, launches on the Hot 100 at No. 2. The track marks a new high for Future, who earns his third top 10, while Drake adds his 207th entry, tying him with the Glee Cast for the most appearances in the chart’s 61-year history.

Drake concurrently collects his 36th Hot 100 top 10, extending his record for the most among male artists, and becomes the first artist to reach 100 top 40 hits.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Jan. 25) will update on Billboard.com tomorrow (Jan. 22; a day later than usual, due to the Martin Luther King Jr. Day holiday yesterday).

“The Box,” released on Bird Vision/Atlantic Records, tallies a third week at No. 1 on the Streaming Songs survey, up by 13% to 77.2 million U.S. streams in the week ending Jan. 16, according to Nielsen Music/MRC Data, as it claims the Hot 100’s top Streaming Gainer award for a second week. The sum is the highest for a song since Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, drew 86.2 million (July 27, 2019); “Road” set the weekly record with 143 million U.S. streams (April 20, 2019).

The lofty streaming total for “The Box” is so far without the aid of an official proper video, although, as noted on the latest This Week in Billboard News podcast, it has recently been filmed. The song’s official audio clip was released Dec. 6, while a lyric video arrived Jan. 9.

The track by the 21-year-old Compton, California, native (real name: Rodrick Wayne Moore, Jr.) rises 8-7 on Digital Song Sales, up 26% to 13,000 sold in the week ending Jan. 16.

Plus, “The Box” enters the Radio Songs chart at No. 50, gaining by 70% to 18.5 million all-format airplay audience impressions in the week ending Jan. 19.

The single concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a third week each.

“The Box” is from the rapper’s debut studio album, Please Excuse Me for Being Antisocial, which began as his first No. 1 on the Billboard 200, dated Dec. 21.

Future’s “Life Is Good,” featuring Drake, flies onto the Hot 100 at No. 2. It enters Digital Song Sales at No. 1 with 25,000 sold and Streaming Songs at No. 2 with 50.7 million U.S. streams in the week ending Jan. 16, following its release late on Jan. 9.

Future achieves his first Digital Song Sales No. 1, while Drake banks his 11th, tying Justin Bieber for the most among solo males; a week earlier, Bieber passed Drake when “Yummy” opened at No. 1. Drake and Bieber are tied with Katy Perry for the third-most leaders on the list, after Taylor Swift (18) and Rihanna (14).

Future also earns his highest Hot 100 rank, and third top 10. He reached No. 9 in 2013 as featured, with Drake, on Lil Wayne’s “Love Me” and hit No. 5 in 2017 with his own “Mask Off.”

Drake, meanwhile, tallies his record-tying 207th Hot 100 entry, matching the Glee Cast for the most in the chart’s history. Drake first appeared on the chart dated May 23, 2009; two weeks later, the Glee troupe made its first appearance, on the June 6, 2009-dated ranking, after the TV series premiered that May 19 on Fox.

Next up for the most Hot 100 visits: Lil Wayne, in third place with 163, followed by Elvis Presley (109, with his career having predated the chart’s Aug. 4, 1958, inception); Kanye West (107); Nicki Minaj (106); Jay-Z (100); Chris Brown (98); Swift (96); James Brown (91); and Future, also now with 91, as he ties for the 10th-most entries.

Additionally, Drake collects his 36th Hot 100 top 10, moving to within two of Madonna’s record 38 and extending his record for the most among male acts. After Madonna and Drake, The Beatles rank third with 34 top 10s, followed by Rihanna (31) and Michael Jackson (30).

“Life Is Good” further marks Drake’s milestone, and record-extending, 100th top 40 Hot 100 hit. He becomes the first artist to reach the triple-digit achievement, ahead of runners-up Lil Wayne and Presley, each with 81, while Swift (63) and Elton John (57) round out the top five.

Post Malone’s “Circles” holds at No. 3 on the Hot 100, after three nonconsecutive weeks at No. 1, as it scores a fifth week atop Radio Songs, down by 1% to 100.3 million in airplay audience.

Maroon 5’s “Memories” is steady at No. 4 on the Hot 100, after reaching a No. 2 high, and Selena Gomez’s “Lose You to Love Me,” from her new album Rare, released Jan. 10, rebounds 10-5, after it led the Nov. 9 chart. As previously announced, Rare roars in as Gomez’s third No. 1 on the Billboard 200.

Lewis Capaldi’s “Someone You Loved” is steady at No. 6 on the Hot 100, following its three-week domination; Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” slips 5-7, as it tops the multi-metric Hot Country Songs chart for a 15th week; and Tones and I’s “Dance Monkey” retreats to No. 8 from its No. 7 high.

Arizona Zervas’ debut hit “Roxanne” remains at No. 9 on the Hot 100, after reaching No. 4, while boasting top Airplay Gainer honors for a second week, as it becomes his first top 10 on Radio Songs (14-8; 57.3 million, up 16%).

Capping the Hot 100’s top 10, Bieber’s “Yummy” falls 2-10 in its second week on the chart, as it drops from No. 1 to No. 10 on Digital Song Sales (11,000, down 85%) and falls 2-6 on Streaming Songs (24.3 million, down 17%) and 10-17 on Radio Songs (46.1 million, down 9%). The track tops the Hot R&B Songs chart for a second week.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Jan. 22), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

The rapper earns his first leader on the list.

Roddy Ricch‘s “The Box” tops the Billboard Hot 100, rising from No. 3 to become the rapper’s first No. 1 on the ranking.

Plus, Justin Bieber jumps onto the Hot 100 at No. 2 with his new single, “Yummy,” following its first full week of tracking after its Jan. 3 release.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Jan. 18) will update on Billboard.com tomorrow (Jan. 14).

“The Box,” released on Bird Vision/Atlantic Records, is the 1,096th No. 1 in the Hot 100’s 61-year history. Roddy Ricch (real name: Rodrick Wayne Moore, Jr.) wrote the song with Samuel “30Roc” Gloade, who solely produced it.

The track by the 21-year-old Compton, California, native hits the Hot 100’s summit in its fifth week on the chart, as it tallies a second week at No. 1 on the Streaming Songs survey, surging by 60% to 68.2 million U.S. streams in the week ending Jan. 9, according to Nielsen Music/MRC Data. Notably, the song does not yet have a proper official video; Its official audio clip was released on Dec. 6, while a new lyric video arrived on Jan. 9.

The streaming sum is the second-highest for any song, after Mariah Carey’s “All I Want for Christmas Is You” drew 72.2 million (Jan. 4), since Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, hauled in 72.5 million (Aug. 3, 2019); “Road” set the record with 143 million on April 20, 2019.

“The Box” roars 31-8 on Digital Song Sales, up 79% to 11,000 sold in the week ending Jan. 9 (as it claims the Hot 100’s top Streaming Gainer and Sales Gainer awards), and hikes by 196% to 10.9 million all-format radio airplay audience impressions.

The single concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a second week each.

“The Box” is from the rapper’s debut studio album, Please Excuse Me for Being Antisocial, which began as his first No. 1 on the Billboard 200, dated Dec. 21 and this week (Jan. 18) rebounds for a second week on top. Roddy Ricch is the first artist to top the Hot 100 and Billboard 200 simultaneously since Lady Gaga and Bradley Cooper’s “Shallow” and their soundtrack to A Star Is Born led the respective rankings dated March 9, 2019; As with Roddy Ricch, those titles brought actor/singer Cooper his first No. 1 on each chart.

Roddy Ricch further posts his second-highest Hot 100 rank, as Mustard’s “Ballin’,” on which he’s featured, lifts 12-11, and he adds his fourth top 40 entry, as “High Fashion,” featuring Mustard, flies 70-35 as it enters Streaming Songs at No. 12 (18.1 million, up 66%).

Justin Bieber’s “Yummy” arrives at No. 2 on the Hot 100 as it starts at No. 1 on Digital Song Sales (71,000 sold in the week ending Jan. 9) and No. 2 on Streaming Songs (29.3 million in the same span), while soaring 38-10 on the Radio Songs chart (50.9 million in its first full week, ending Jan. 12).

As for the song’s sales total, 71,000 marks the best since Taylor Swift’s “You Need to Calm Down” launched with 79,000 (June 29, 2019).

“Yummy” was released at midnight ET on Jan. 3, while its official video premiered the following day. Its sales sum in the tracking week was boosted by a bevy of vinyl and cassette single offers in his official webstore (with certain pieces to be autographed by Bieber), and consumers received a digital copy of the song upon each purchase; Its airplay total includes hourly plays on participating Entercom Communications-owned radio stations on Jan. 11.

With “Yummy,” Bieber banks his 17th Hot 100 top 10 (dating to his first, the No. 5-peaking “Baby,” on Feb. 6, 2010), 14th Radio Songs top 10 and 11th Digital Song Sales No. 1, the lattermost total lifting him ahead of Drake and Eminem for the most among male artists. Bieber ties Katy Perry for the third-most Digital Song Sales leaders, after Swift (18) and Rihanna (14).

“Yummy” concurrently vaults from No. 16 to No. 1 on Hot R&B Songs, becoming Bieber’s second topper on the tally (among eight top 10s), and first as a lead artist. He initially led as featured, with Chance the Rapper and Quavo, on DJ Khaled’s “No Brainer,” for six weeks in August-October 2018. “Yummy” enters Hot R&B/Hip-Hop Songs at No. 2, where Bieber adds his fourth top 10.

Post Malone’s “Circles” drops to No. 3 on the Hot 100 after three nonconsecutive weeks at No. 1, as it tallies a fourth week atop Radio Songs, up by 1% to 101.3 million in audience.

Maroon 5’s “Memories” descends to No. 4 on the Hot 100 from its No. 2 high, while Dan + Shay and Bieber’s No. 4-peaking “10,000 Hours” climbs 9-5, as it tops Hot Country Songs for a 14th week. Thanks to “Yummy” and “Hours,” Bieber is the first artist with two concurrent top five Hot 100 hits since Post Malone, whose “Goodbyes,” featuring Young Thug, and “Circles” ranked at Nos. 3 and 4, respectively, on Sept. 21.

Rounding out the Hot 100’s top 10, Lewis Capaldi’s “Someone You Loved” backtracks 4-6, following its three-week command; Tones and I’s “Dance Monkey” keeps at its No. 7 best; Lizzo’s No. 3-peaking “Good as Hell” drops 6-8; Arizona Zervas’ “Roxanne” retreats 5-9, after reaching No. 4, while boasting top Airplay Gainer honors (49.5 million, up 21%); and Selena Gomez’s “Lose You to Love Me” holds at No. 10, after it led the Nov. 9 chart.

(Note that with this week’s charts, dated Jan. 18, Billboard has streamlined the inclusion of YouTube user-generated content [UGC] for song charts that incorporate streaming data, including the Hot 100. As of this week, only streams of video clips that are termed to be “song-UGC” will be factored into such charts, while “non-song UGC” will be excluded; The main difference between the two is that song-UGC content comprises clips of extended length that prominently feature a song.

Further, for streaming-based charts, the Hot 100 and other multi-metric genre-specific “Hot”-named surveys, such as Hot R&B/Hip-Hop Songs, which employ the same streaming-, airplay- and sales-based methodology as the Hot 100, song-UGC content will now be weighted at the same level as programmed streams; It was previously weighted at the same level as ad-supported, on-demand streams. Additionally, paid/subscription video streams from YouTube and audio streams, such as on YouTube Music, have been isolated and will contribute at the same level as paid/subscription streams, the highest of the three contributing streaming levels.)

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Jan. 14), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

In a quiet week on the Billboard 200 albums chart — where no albums debut within the top 100 — Roddy Ricch​’s Please Excuse Me For Being Antisocial returns to the No. 1 slot for a second week in charge. The set, which premiered atop the tally dated Dec. 21, 2019, rises 2-1 in its fifth week on the list (dated Jan. 18).

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). The new Jan. 18, 2020-dated chart (where Roddy Ricch bounces back to No. 1) will be posted in full on Billboard‘s websites on Jan. 14.

The Jan. 18-dated Billboard 200 chart marks the first week the tally includes on-demand video and audio streams from YouTube, as well as officially licensed video content plays from Apple Music, Spotify, Tidal and Vevo. The inclusion of video data into the chart comes five years after on-demand audio streams were added to the tally, when the chart shifted from a pure album sales ranking to a consumption model (Dec. 13, 2014-dated chart). The addition of YouTube and video streams will also impact all of Billboard’s other genre album consumption charts, including Top Country Albums, Top R&B/Hip-Hop Albums, Top Rock Albums, Top Latin Albums and so forth.

Please Excuse Me rises 2-1 on the new tally with 97,000 equivalent album units earned in the U.S. in the week ending Jan. 9, according to Nielsen Music/MRC Data. That’s a 31% increase in total units earned compared to the previous week’s haul of 74,000. (Note, week-over-week comparisons reflect the new week’s inclusion of video streams versus the previous week without video streams.)

Please Excuse Me continues to profit from the surging popularity of its single “The Box.” On the most recently published Billboard Hot 100 and Streaming Songs charts (dated Jan. 11), the track vaulted 13-3 and 6-1, respectively.

Of Please Excuse Me’s overall 97,000 equivalent album units for the week, nearly all were generated by on-demand audio streaming activity. Album sales comprised just 1,000 units of the set’s sum, while TEA equaled a little under 2,000 units. However, SEA activity totaled a whopping 94,000 units. And, of that 94,000 sum, on-demand audio activity nearly 91,000 units while on-demand video streams generated a little under 4,000 units.

Source: billboard.com

“Circles” returns to the top as Christmas hits melt away.

Post Malone‘s “Circles” returns to the top of the Billboard Hot 100 chart for a third total week at No. 1. The song leads again after a four-week interruption by The Weeknd’s “Heartless” (for one frame) and Mariah Carey’s “All I Want for Christmas Is You” (for three).

Meanwhile, Maroon 5‘s “Memories” leaps from No. 9 to No. 2 on the Hot 100, matching the band with The Rolling Stones as the only groups to place in the top two in three distinct decades over the chart’s 61-plus-year history.

Plus, rapper Roddy Ricch earns his first Hot 100 top 10, as “The Box” bounds 13-3, while becoming his first No. 1 on the Streaming Songs chart.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Jan. 11) will update on Billboard.com tomorrow (Jan. 7).

“Circles,” on Republic Records, leads the Hot 100 for a third total week, after first topping the tallies dated Nov. 30 and Dec. 7. The song’s four-week hiatus between weeks at No. 1 is the longest since Taylor Swift’s “Shake It Off” reigned for two weeks and then spent eight frames at No. 2 (below Meghan Trainor’s “All About That Bass”) before returning for two more weeks on top in September-November 2014.

Before that, Miley Cyrus’ “Wrecking Ball” took a nine-week break between topping the Hot 100, marking the longest such wait in the survey’s archives for a song in one chart run; only Chubby Checker’s “The Twist” had a longer gap, having led in September 1960 and again in January 1962, over two separate chart cycles.

“Circles” scores a third week at No. 1 on the Radio Songs chart, up by 3% to 102.1 million in all-format airplay audience in the week ending Jan. 5, according to Nielsen Music. It rises 6-2 on Digital Song Sales, up 43% to 23,000 sold in the week ending Jan. 2, and 38-7 on Streaming Songs, up 16% to 24.2 million U.S. streams in the same span. (Several songs soar on Streaming Songs as holiday hits clear out after Christmas.)

Maroon 5’s “Memories” surges 9-2 on the Hot 100, besting its prior No. 4 high and lifting the band into lofty company historically: as the act has now ranked in the Hot 100’s top two on charts dated in the ’00s, ’10s and ’20s, it joins The Rolling Stones as the only groups to place in the top two in three distinct decades.

Maroon 5 notched one Hot 100 No. 1 in the ’00s; three No. 1s and two No. 2 hits in the ’10s; and, now, its first top-two hit of the ’20s. The Rolling Stones’ count: six top-two hits in the ’60s (five of which reached No. 1); three No. 1s in the ’70s; and one top-two hit in the ’80s. As “Memories” inducts Maroon 5 into the club, “Start Me Up” punched the Stones’ ticket, revving to No. 2 in 1981.

The other acts overall with top-two Hot 100 entries in three decades: Christina Aguilera, Cher, Aretha Franklin, Janet Jackson, Michael Jackson, Jay-Z, Elton John, Gladys Knight, Madonna, Elvis Presley, Britney Spears, Usher, Dionne Warwick and Stevie Wonder. Ahead of them all, Carey has placed in the top two in four decades, having made history last week (on the Jan. 4-dated chart) when “Christmas” logged its third week at No. 1, granting her time on top in the ’90s, ’00s, ’10s and ’20s.

“Memories” rebounds 3-1 for a third week atop Digital Song Sales (25,000, up 37%); holds at No. 3 on Radio Songs (95 million, up 5%); and re-enters Streaming Songs at No. 22 (17.7 million, up 15%).

Roddy Ricch achieves his first Hot 100 top 10, as “The Box” vaults 13-3 and becomes his first No. 1 on the Streaming Songs chart (6-1; 42.6 million, up 15%). It also jumps 50-31 on Digital Song Sales (6,000, up 29%) and gains by 177% to 3.6 million in radio reach.

“The Box” additionally marks the 21-year-old Compton, California, native’s first No. 1 the Hot R&B/Hip-Hop Songs (3-1) and Hot Rap Songs (2-1) charts, which employ the same multi-metric methodology as the Hot 100. The track is from the rapper’s debut studio album, Please Excuse Me For Being Antisocial, which began as his first No. 1 on the Billboard 200, dated Dec. 21.

Roddy Ricch further posts his second-highest Hot 100 rank, as Mustard’s “Ballin’,” on which he’s featured, climbs 19-12. On Streaming Songs, the track reaches the top 10 (31-10; 23.6 million, down 4%).

Rounding out the Hot 100’s top five, Lewis Capaldi’s “Someone You Loved” lifts 8-4, following its three-week reign, and Arizona Zervas’ “Roxanne” rebounds 6-5, after reaching No. 4.

Lizzo’s No. 3-peaking “Good as Hell” ascends 10-6 on the Hot 100, as it rules Hot R&B Songs for a ninth week; Tones and I’s “Dance Monkey” returns to the Hot 100’s top 10 at a new high, swinging 14-7; and Travis Scott’s “Highest in the Room,” which debuted atop the Oct. 19-dated Hot 100, rockets 38-8, helped by a new remix featuring Rosalía and Lil Baby available on the Scott-led album Jackboys, which this week launches at No. 1 on the Billboard 200.

Capping the Hot 100’s top 10, Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” pushes 17-9, as it tops Hot Country Songs for a 13th week, and Selena Gomez’s “Lose You to Love Me” jumps 18-10, after it opened atop the Nov. 9 chart.

Meanwhile, a week after five holiday hits decorated the top 10 (a weekly record), they all depart not only the top tier but the entire Hot 100: Carey’s “All I Want for Christmas Is You,” Brenda Lee’s “Rockin’ Around the Christmas Tree,” Bobby Helms’ “Jingle Bell Rock” and Burl Ives’ “A Holly Jolly Christmas,” from Nos. 1 through 4, respectively, and Andy Williams’ “It’s the Most Wonderful Time of the Year,” from No. 7.

Carey’s 1994 carol becomes the first song ever to drop off the Hot 100 from No. 1 (with older titles removed if below No. 50 after 20 weeks; it has tallied 37 total weeks), after first setting the record a year ago when it exited from No. 3. (Like Frosty the Snowman, all four songs will surely be back again someday, likely leading the way for Christmas jingles next holiday season.)

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Jan. 7), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

After a week in which four of the top 10 albums on the Billboard 200 chart were Christmas efforts, the list shakes off the season in its top tier, and welcomes a new No. 1 from the Travis Scott-led Jackboys project.

The seven-track hip-hop set was released on Dec. 27, 2019, via Cactus Jack/Epic Records, and launches with 154,000 equivalent album units earned in the U.S. in the week ending Jan. 2, according to Nielsen Music. Of that sum, 79,000 were in album sales — with most of that number owed to sales driven by dozens of merchandise/album bundles sold via Jackboys’ official webstore.

Jackboys comprise Scott, Sheck Wes, Don Toliver and Chase B.

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). The new Jan. 11, 2020-dated chart (where Jackboys enters at No. 1) will be posted in full on Billboard‘s websites on Jan. 7.

Jackboys took advantage of a sleepy release schedule on Dec. 27, as it is the only album issued that day to debut within the top 40 of the new Billboard 200 chart.

The brief Jackboys release consists of seven tracks (six songs and one instrumental), and clocks in at just over 21 minutes in length. Five of the tracks are credited to Jackboys, while the effort also sports a remix of Scott’s solo single “Highest in the Room,” featuring Rosalía and Lil Baby.

Of Jackboys’ total unit start of 154,000, beyond its album sales sum of 79,000, SEA units total 74,000 (equating to 97.1 million in on-demand audio streams for the album’s tracks) and TEA units equal 1,000.

The rest of the top 10 on the new Billboard 200 is comprised mostly of former No. 1s. Roddy Ricch​’s Please Excuse Me for Being Antisocial rises 3-2 with 74,000 equivalent album units earned (up 1%), while Post Malone’s Hollywood’s Bleeding jumps 6-3 with 64,000 units (up 1%), and Harry Styles’ Fine Line dips 1-4 in its third week with 54,000 units (down 40%).

The Frozen II soundtrack flurries 9-5 with 46,000 equivalent album units earned (down 18%), Billie Eilish​’s When We All Fall Asleep, Where Do We Go? falls 5-6 with 45,000 units (down 30%); Young Thug’s So Much Fun rises 10-7 with 38,000 units (down 29%); and DaBaby​’s Kirk flies 20-8 with 36,000 equivalent album units, up 4%. While such a small gain would normally not yield a large positional jump, in the weeks following Christmas, when few albums post increases, a modest gain — or even just a small decline — can result in a big chart move.

Taylor Swift’s Lover rises 11-9 with 30,000 equivalent album units (down 37% and Summer Walker’s Over It rallies 28-10 with 28,000 units (though down 5%).

With the new chart reflecting the tracking week of Dec. 27, 2019 through Jan. 2, 2020, most Christmas albums jingle their way down (or off) the chart. A week ago, on the Jan. 4-dated tally (reflecting the tracking week ending Dec. 26), there were 52 Christmas albums on the chart, with four of those holding court in the top 10. On the new chart, the highest-ranked Christmas album is Pentatonix​’s The Best of Pentatonix Christmas at No. 116 (7,000 equivalent album units earned, down 88%), and just five Christmas albums dot the entire tally.

Source: billboard.com

Carey has now ranked atop the Hot 100 in the ’90s, ’00s, ’10s & ’20s.

Mariah Carey‘s “All I Want for Christmas Is You” is the gift that keeps on giving her historic achievements, as the song makes the superstar the first artist to top the Billboard Hot 100 in four decades.

“Christmas” spends a third week atop the latest Hot 100, dated Jan. 4, 2020, having first led the charts dated Dec. 21 and Dec. 28, 2019. The song, originally released in 1994, became Carey’s 19th No. 1, after she earned 14 leaders in the 1990s and four in the 2000s.

Meanwhile, holiday songs rank in the Hot 100’s top four spots simultaneously for the first time in the chart’s 61-year history, as, following Carey’s carol, at Nos. 2, 3 and 4, respectively, are Brenda Lee‘s “Rockin’ Around the Christmas Tree,” Bobby Helms‘ “Jingle Bell Rock” and Burl Ives‘ “A Holly Jolly Christmas.”

Plus, a record five holiday hits infuse the Hot 100’s top 10 simultaneously, thanks also to Andy Williams‘ “It’s the Most Wonderful Time of the Year” at No. 7.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Jan. 4) will update on Billboard.com tomorrow (Dec. 31).

New record streams for a holiday song: Carey’s “Christmas,” on Columbia/Legacy Records, tops the Streaming Songs chart for a fourth consecutive week, and fifth total frame (after a week at No. 1 last holiday season), up 33% to 72.2 million U.S. streams in the week ending Dec. 26, according to Nielsen Music. The total, helped by a new video for “Christmas” released Dec. 20, is the best weekly sum ever for a holiday hit, surging past the 54.4 million that the song drew the previous week.

(“Christmas” is the eighth song with at least 72.2 million U.S. streams in a single week. Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, holds the record, with 143 million, as reflected on the Streaming Songs chart dated April 20, 2019.)

“Christmas” rebounds 7-5 on Digital Song Sales, up 17% to 17,000 sold in the week ending Dec. 26, while dropping 14-26 on Radio Songs, down by 28% to 30.9 million in all-format airplay audience in the week ending Dec. 29 (with the airplay tracking week encompassing the four days after Christmas, when stations returned to non-holiday programming).

Originally released in 1994 on Carey’s album Merry Christmas, the modern classic reached the Hot 100’s top 10 at last in December 2017 and rose to its prior No. 3 high last holiday season, before topping the tally for the first time two weeks ago, becoming only the second holiday No. 1 ever on the Hot 100, joining The Chipmunks’ “The Chipmunk Song” (with David Seville), which ruled for four weeks in 1958-59.

First artist to be No. 1 in four decades: Carey becomes the first artist to top the Hot 100 in four distinct decades (notably, with a song from the 1990s extending her run into both the 2010s and 2020s).

Carey passes eight chart cornerstones that have reigned on the Hot 100 in three decades each. Here’s an updated recap:

’60s, ’70s, ’80s: Stevie Wonder
’70s, ’80s, ’90s: Michael Jackson, Elton John
’80s, ’90s, ’00s: Janet Jackson, Madonna
’90s, ’00s, ’10s: Christina Aguilera, Britney Spears, Usher
’90s, ’00s, ’10s, ’20s: Mariah Carey

Click here for a deeper dive into artists with such uncommon Hot 100 longevity.

10 x 3: Of Carey’s 19 Hot 100 No. 1s, “Christmas” is her record-breaking 10th to rule for three weeks or more. Here’s a rundown: 16 weeks at No. 1, “One Sweet Day” (with Boyz II Men), 1995-96 / 14, “We Belong Together,” 2005 / 8, “Fantasy,” 1995; “Dreamlover,” 1993 / 4, “Hero,” 1993-94; “Vision of Love,” 1990 / 3, “All I Want for Christmas Is You,” 2019-20; “Honey,” 1997; “Emotions,” 1991; “Love Takes Time,” 1990.

Carey bests The Beatles and Rihanna, each of whom have tallied nine No. 1s of three weeks or more each. (Among artists with the most No. 1s overall, The Beatles lead with 20, followed by Carey with 19 and Rihanna with 14.)

Sweet 16: Carey has now placed at No. 1 on the Hot 100 in a record-extending 16 distinct years (per Hot 100 chart dates): 1990-2000, 2005-06, 2008, 2019 and 2020.

Next up are three acts that have each spent time atop the Hot 100 in 10 individual years: Paul McCartney/Wings (1971, 1973-76, 1978, 1980, 1982-84); Michael Jackson (1972, 1979-80, 1983-84, 1987-88, 1991-92, 1995); and Madonna (1984-87, 1989-92, 1995, 2000).

As for other feats achieved with the Hot 100 coronation of “Christmas,” the song completed the longest journey to No. 1 ever from an original release: over 25 years. Plus, Carey extended her mark for the most No. 1s among soloists (19). This week, she adds her record-padding 82nd career week at No. 1, while extending the longest span of leaders for any act: 29 years and five months, dating to her first week atop the chart, dated Aug. 4, 1990, with “Vision of Love.”

Carey’s “Christmas” concurrently tops the streaming-, sales- and airplay-based Holiday 100 chart for a 40th total week, of the 45 overall frames in the chart’s history, dating to its 2011 inception. (Following this week, the Holiday 100 will go back up into Billboard‘s attic until it’s unpacked and brought down again next holiday season.)

Brenda Lee’s “Rockin’ Around the Christmas Tree” holds at its No. 2 Hot 100 high; it entered the top 10 for the first time last holiday season, over 58 years after it debuted on the chart. It also keeps at No. 2 on Streaming Songs, up 44% to 65.1 million U.S. streams.

Rounding out the first all-holiday top four in the Hot 100’s history, Bobby Helms’ “Jingle Bell Rock” goes gliding 9-3 and Burl Ives’ “A Holly Jolly Christmas” lifts 6-4. The songs also rank at Nos. 3 and 4 on Streaming Songs, with 54.4 million (up 44%) and 53.2 million U.S. streams (up 63%), respectively.

When it rose 8-3 on the Hot 100 dated Dec. 21, Lee’s “Rockin’ ” set the record for the longest ride ever to the top five from its debut on the chart: 59 years and nine days. It also granted Lee the mark for the longest break between top five hits: 57 years and three weeks since she’d last ranked in the region, on Dec. 1, 1962, with “All Alone Am I.” Now, the late Helms halts the second-longest such drought: 53 years, four months and one week since he’d last charted in the top five, with “Sunny” on Aug. 27, 1966.

The late Ives, meanwhile, earns his first top five Hot 100 hit, ending the longest wait for a first such song from an artist’s first appearance on the chart: 58 years and two weeks, since he arrived on the Dec. 18, 1961-dated ranking with his first of three top 10s, “A Little Bitty Tear.”

As for the other holiday song in the latest Hot 100’s top 10, of a record five at the same time, Andy Williams’ “It’s the Most Wonderful Time of the Year” ascends to a new high, roaring 15-7 (41.1 million, up 44%) and marking the late crooner’s highest rank since 1963.

Highest-Charting Holiday Songs in the Hot 100’s History
No. 1, three weeks to-date, Dec. 21, 2019, “All I Want for Christmas Is You,” Mariah Carey
No. 1, four weeks, beginning Dec. 22, 1958, “The Chipmunk Song,” by The Chipmunks with David Seville
No. 2, Dec. 28, 2019, “Rockin’ Around the Christmas Tree,” Brenda Lee
No. 3, Jan. 4, 2020, “Jingle Bell Rock,” Bobby Helms
No. 4, Jan. 4, 2020, “A Holly Jolly Christmas,” Burl Ives
No. 7, Jan. 4, 2020, “It’s the Most Wonderful Time of the Year,” Andy Williams
No. 7, Jan. 8, 2000, “Auld Lang Syne,” Kenny G
No. 7, Jan. 6, 1990, “This One’s for the Children,” New Kids on the Block
No. 9, Feb. 21, 1981, “Same Old Lang Syne,” Dan Fogelberg

Notably, for several years (1963-72; 1983-85, barring occasional exceptions), holiday songs were ineligible to chart on the Hot 100, instead appearing on separate holiday rankings. Over the past decade, holiday hits have proven strong in streaming, further helping spark some of the highest peaks for Yuletide tunes in the chart’s entire history.

As for non-seasonal songs, Post Malone‘s “Circles” drops 3-5 on the Hot 100 after topping the charts dated Nov. 30 and Dec. 7. Still, it tops Radio Songs for a second week, up 2% to 98.3 million in audience.

Arizona Zervas‘ “Roxanne” dips to No. 6 from its No. 4 Hot 100 high, as it leads the multi-metric Hot Rap Songs chart for a fifth week and Hot R&B/Hip-Hop Songs for a second frame; Lewis Capaldi‘s “Someone You Loved” repeats at No. 8, after it logged three weeks at No. 1 on the Hot 100; and Maroon 5‘s No. 4-peaking “Memories” slips 7-9.

Rounding out the Hot 100’s top 10, Lizzo‘s No. 3-peaking “Good as Hell” holds at No. 10 and (as it’s on sale in the iTunes Store for 69 cents) reaches No. 1 on Digital Song Sales for the first time (20,000 sold, up 95%), becoming her second leader on the list, after “Truth Hurts” tallied five weeks on top. “Good” concurrently rules Hot R&B Songs for an eighth week.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Dec. 31), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Harry Styles’ Fine Line album leads the Billboard 200 chart for a second week, as the set earned 89,000 equivalent album units in the U.S. in the week ending Dec. 26, according to Nielsen Music. That’s down 81% compared to its debut a week earlier, when it blasted in atop the tally with 478,000 units.

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). The new Jan. 4, 2020-dated chart (where Fine Line holds at No. 1) will be posted in full on Billboard‘s websites on Dec. 31.

Of Fine Line’s overall second-week unit sum, album sales comprise 47,000 of that figure — down 88% compared to its first-week sales figure of 346,000.

Fine Line is the first pop album to spend two weeks at No. 1 since Ed Sheeran​’s No.6 Collaborations Project set also spent its first two weeks in charge, on the charts dated July 27 and Aug. 3, 2019. (Pop albums are those that did not chart on a genre-specific tally such as Alternative Albums or Top R&B/Hip-Hop Albums, etc.) Additionally, Fine Line, which is Styles’ second No. 1, has now surpassed the one-week reign of his self-titled debut.

Michael Bublé​’s Christmas climbs 6-2 on the new Billboard 200 (77,000 equivalent album units; up 34%), marking the album’s highest rank since it closed out a five-week run at No. 1 on the Jan. 7, 2012-dated list. Christmas, which was released in October of 2011, has revisited the top 10 of the Billboard 200 in every Christmas season since its initial reign. Until this week, the album’s highest rank after its initial run at No. 1 was No. 3. It achieved that placing during both the 2012-13 and 2018-19 seasons (on the charts dated Dec. 29, 2012 and Jan. 5, 2019).

Bublé’s Christmas is one of four holiday albums in the top 10 on the new Billboard 200 — the most Christmas titles in the region in six years. The last time the top 10 was so festive was on the Dec. 21, 2013-dated list. That week, there were a whopping five seasonal sets in the region: Kelly Clarkson’s Wrapped in Red (No. 3), The Robertsons’ Duck the Halls: A Robertson Family Christmas (No. 5), Pentatonix​’s PTXmas (EP), Bublé’s Christmas (No. 8) and Mary J. Blige​’s A Mary Christmas (No. 10).

It’s not surprising that the top of the new Billboard 200 chart is so holiday-heavy, as the latest tracking week ended on Dec. 26, so the frame captured the last five days leading up to Christmas, as well as the Christmas holiday itself on Dec. 25.

Pausing for a moment on the seasonal merriment, rapper Roddy Ricch sees his former No. 1 album Please Excuse Me for Being Antisocial hold at No. 3 on the new Billboard 200 in its third week. The set earned 73,000 equivalent album units (down 10%).

Mariah Carey’s Merry Christmas album jingles 8-4 on the Billboard 200, tallying 71,000 equivalent album units (up 40%). The set — the second of four holiday titles in the new top 10 — revisits the top five of the chart for the first time since 1994, when it peaked at No. 3 (Dec. 17, 1994-dated chart). Merry Christmas includes Carey’s evergreen favorite “All I Want for Christmas Is You,” which spent its second week at No. 1 on the most recently published Billboard Hot 100 songs chart (dated Dec. 28), after it reached the top for the first time two weeks ago.

Billie Eilish​’s former No. 1 When We All Fall Asleep, Where Do We Go? rises 9-5 on the new Billboard 200, earning 64,000 equivalent album units (up 31%), and Post Malone’s former leader Hollywood’s Bleeding dips 4-6 with 63,000 units (though up less than 1%). Pentatonix’s The Best of Pentatonix Christmas — the third of the week’s holiday albums in the top 10 — is a non-mover at No. 7 with 62,000 units (up 12%).

Nat King Cole’s The Christmas Song closes out the quartet of holiday titles in the top 10, as it surges 11-8 with 60,000 equivalent album units (up 45%). The jump is fueled by streaming activity of the set’s familiar favorites such as its title track, “O Holy Night,” “Caroling, Caroling” and “Silent Night.” The album has so far peaked at No. 7 on the Jan. 5, 2019-dated chart.

Rounding out the new top 10 are a pair of former No. 1s: the Frozen II soundtrack slides 5-9 with 57,000 equivalent album units (down 6%), while Young Thug’s So Much Fun rallies 36-10 with 53,000 units (up 136%). The latter album was reissued on Dec. 20 with additional tracks, spurring its surge up the list.

Source: billboard.com