Carey’s ‘All I Want for Christmas Is You’ breaks the weekly streaming record for a holiday song.

Holiday songs hang atop the Billboard Hot 100‘s two highest boughs for the first time in the chart’s history, as Mariah Carey‘s “All I Want for Christmas Is You” leads the list for a second week and Brenda Lee‘s “Rockin’ Around the Christmas Tree” rises from No. 3 to No. 2, reaching a new peak.

Carey’s carol also breaks its own record for the biggest streaming week ever for a holiday song: 54.4 million U.S. streams in the week ending Dec. 19, according to Nielsen Music.

Meanwhile, a record-tying four seasonal songs rank in the Hot 100’s top 10, as Burl Ives‘ “A Holly Jolly Christmas” climbs 10-6 for a new high and Bobby Helms‘ “Jingle Bell Rock” rolls 15-9.

Beyond that sleighful of holiday hits, Post Malone earns his first No. 1 on the Radio Songs chart with his former Hot 100 leader “Circles,” now at No. 3 on the latter list, and Lil Uzi Vert‘s “Futsal Shuffle 2020” launches at No. 5 on the Hot 100.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Dec. 28) will update on Billboard.com tomorrow (Dec. 24).

Carey’s “Christmas,” on Columbia/Legacy Records, tops the Streaming Songs chart for a third consecutive week, and fourth total frame (after a week at No. 1 last holiday season), up 19% to 54.4 million U.S. streams in the week ending Dec. 19, according to Nielsen Music. The total is the best weekly sum ever for a holiday hit, surpassing the 51.9 million that the song drew last season (Jan. 5, 2019).

“Christmas” drops to No. 7 on Digital Song Sales after its second week at No. 1 (following a week on top in 2005), down 44% to 15,000 sold in the week ending Dec. 19. (For two days in the prior tracking week, ending Dec. 12, Carey sold CD singles of “Christmas” on her website, available for pre-order with consumers receiving a download upon purchase.)

On Radio Songs, “Christmas” surges 27-14, gaining by 26% to 42.9 million in all-format airplay audience in the week ending Dec. 22, as it wins the Hot 100’s top Airplay Gainer award.

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 last week and 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.

Among other feats achieved last week with the Hot 100 coronation of “Christmas,” Carey collected her 19th No. 1, extending her record for the most among soloists and moving to within one of The Beatles’ record 20. This week, she adds her record-extending 81st career week at No. 1 and extends the longest span of Hot 100 No. 1s for any artist: 29 years, four months and three weeks, dating to her first frame at No. 1 on the chart dated Aug. 4, 1990, with “Vision of Love.”

Additionally last week, Carey became the fourth artist with Hot 100 No. 1s in the 1990s, 2000s & 2010s, joining Christina Aguilera, Britney Spears and Usher. No act has ever logged time at No. 1 on the Hot 100 in four distinct decades, consecutively or otherwise; thus, if “Christmas” is No. 1 on the chart next week (dated Jan. 4, 2020), Carey would become the first artist to achieve the honor. (A new video for “Christmas,” released Friday, Dec. 20, will help the song’s fortunes on next week’s charts.)

Carey’s “Christmas” concurrently tops the streaming-, sales- and airplay-based Holiday 100 chart for a 39th total week, of the 44 overall frames in the chart’s history, dating to its 2011 inception.

Meanwhile, Brenda Lee’s “Rockin’ Around the Christmas Tree” pushes 3-2 on the Hot 100, marking a new high; it entered the top 10 for the first time last holiday season, over 58 years after it debuted on the chart.

The chestnut is the third-highest-charting holiday hit in the Hot 100’s 61-year archives, as holiday songs rank in the top two spots simultaneously for the first time:

Highest-Charting Holiday Songs in the Hot 100’s History
No. 1, two 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. 6, Dec. 28, 2019, “A Holly Jolly Christmas,” Burl Ives
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. 8, Jan. 5, 2019, “Jingle Bell Rock,” Bobby Helms
No. 9, Feb. 21, 1981, “Same Old Lang Syne,” Dan Fogelberg
No. 10, Dec. 29, 2018, “It’s the Most Wonderful Time of the Year,” Andy Williams

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. This decade, seasonal songs have proven strong in streaming, further helping spark some of the highest peaks for Yuletide tunes in the chart’s entire history.

“Rockin’ ” likewise rises 3-2 on Streaming Songs (45.3 million, up 22%), aided by a new animated music video. It ascends 34-33 on Radio Songs (27 million, up 3%) and 38-30 on Digital Song Sales (6,000, up 5%).

Originally released in 1958, “Rockin’ ” first appeared on the Hot 100 dated Dec. 12, 1960. Last week, when it dashed 8-3, it completed the longest climb ever to the top five from a song’s bow: 59 years and nine days.

Meanwhile, two other holiday hits scale the Hot 100’s top 10: Burl Ives’ “A Holly Jolly Christmas” reaches a new high, lifting 10-6, and Bobby Helms’ “Jingle Bell Rock” gallops 15-9. The quartet of Christmas songs in the current Hot 100’s top 10 ties for the merriest such week ever, as the same four songs shared space in the region on the Jan. 5, 2019-dated chart.

Post Malone’s “Circles” drops 2-3 on the Hot 100 after topping the charts dated Nov. 30 and Dec. 7. The singer/rapper achieves his first No. 1 on Radio Songs with the single, as it ascends 2-1, up 3% to 96.7 million in audience. Post Malone had previously peaked at No. 2 on Radio Songs with “Psycho” (featuring Ty Dolla $ign) and “Better Now,” both in 2018.

Arizona Zervas’ “Roxanne” reaches a new Hot 100 high, climbing 6-4, as it leads the multi-metric Hot Rap Songs chart for a fourth week and becomes the newcomer‘s first No. 1 on Hot R&B/Hip-Hop Songs.

Lil Uzi Vert’s “Futsal Shuffle 2020” soars in at No. 5 on the Hot 100, as it opens in at No. 3 on Streaming Songs with 40.9 million U.S. streams. On Digital Song Sales, it starts at No. 29 with 6,000 sold.

The rapper tallies his third Hot 100 top 10, and first top five entry in a lead role. In 2017, he spent three weeks at No. 1 as featured on Migos’ “Bad and Boujee” and reached No. 7 with his own “XO TOUR Llif3.”

Elsewhere in the Hot 100’s top 10, Maroon 5’s No. 4-peaking “Memories” holds at No. 7; Lewis Capaldi’s “Someone You Loved” drops 4-8, after it logged three weeks at No. 1; and Lizzo’s No. 3-peaking “Good as Hell” descends 5-10, while ruling Hot R&B Songs for a seventh week.

Just beyond the Hot 100’s top 10, Wham!‘s 1984 classic “Last Christmas” hits the top 20 for the first time, jingling 26-17 and surpassing its prior No. 25 peak, set last holiday season. The duo (which comprised George Michael, who died on Christmas Day in 2016, and Andrew Ridgeley) scores its seventh top 20 hit and its highest rank since “The Edge of Heaven” reached No. 10 in August 1986. (Michael last ranked in the top 20 solo with his No. 8 hit “Fastlove” in 1996.)

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. 24), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

The set tallies the third-biggest week of the year for an album in the U.S.

Harry Styles lands his second No. 1 album on the Billboard 200 chart, as his sophomore effort Fine Line makes a huge debut atop the list.

The set, which was released on Dec. 13 via Erskine/Columbia Records, earned 478,000 equivalent album units in the U.S. in the week ending Dec. 19, according to Nielsen Music. That figure marks the biggest week for a pop album by a male artist in over four years, the largest week for a Columbia album in more than three years, and the third-biggest week overall for any album in 2019. It also scores the largest sales week for an album by a solo U.K. male artist since Nielsen Music began electronically tracking sales data in 1991.

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 Dec. 28-dated chart, where Fine Line debuts at No. 1, will be posted in full on Billboard‘s websites on Dec. 24.

Of Fine Line’s total unit start of 478,000, album sales comprise 393,000; SEA units total 83,000 (equating to 108.7 million on-demand audio streams for the album’s songs); and TEA units equal 3,000.

Here are some notable achievements for Styles with the bow of Fine Line:

Styles’ Second No. 1 Album: Styles goes two-for-two at No. 1 on the Billboard 200, as Fine Line follows his previous No. 1, his self-titled debut album in 2017. The latter started atop the list dated June 3, 2017, with 230,000 equivalent album units earned in its first week and 193,000 of that sum in album sales.

First U.K. Male Artist to Debut at No. 1 With First Two Albums: The England-born Styles is the first U.K. male artist to debut at No. 1 with his first two albums. (Further, only two solo U.K. male acts have debuted at No. 1 with their first albums: Styles and his former One Direction bandmate Zayn. The latter launched at No. 1 back in 2016 with Mind of Mine.)

Third-Largest Week for an Album in 2019: Fine Line’s starting sum of 478,000 units marks the third-biggest week of 2019 for any album. Only the debuts of Taylor Swift’s Lover (869,000; Sept. 7 chart) and Post Malone’s Hollywood’s Bleeding (489,000; Sept. 21) landed larger frames.

Biggest Week for a Pop Album by a Male Artist in Four Years: Fine Line’s blockbuster bow yields the largest week for a pop album by a male artist in over four years. The last set to notch a bigger week was Justin Bieber’s Purpose, which entered at No. 1 on the Dec. 5, 2015-dated chart with 649,000 units. (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.)

Columbia Records’ Biggest Week Since 2016: Fine Line — released via Erskine/Columbia Records — gives Columbia its largest overall week for an album since the May 14, 2016-dated chart, when Beyoncé​’s Lemonade (on Parkwood/Columbia) bowed at No. 1 with 653,000 units. Fine Line also logs the largest week for any album released by a Sony Music label in over a year. The last larger week registered by a Sony release was the debut of Travis Scott’s Astroworld (on Cactus Jack/Epic Records), when it started at No. 1 on the Aug. 18, 2018, chart with 537,000 units.

‘Fine Line’ Is Already Among 2019’s Top 10-Selling Albums: After only one week in release, Fine Line is the sixth-largest selling album of 2019. Fine Line, which sold 393,000 copies in its debut week, was bolstered by sales generated from a concert ticket/album sale redemption offer with his upcoming tour, as well as an array of merchandise/album bundles sold via his official website. So far in 2019, the top-selling album in the U.S. is Taylor Swift’s Lover, with 1.05 million copies sold.

Largest Sales Week for a U.K. Male Artist in Nielsen Music History: Fine Line’s debut sales of 393,000 is the largest sales week for an album by a solo U.K. male artist since Nielsen Music began electronically tracking sales data in 1991. It surpasses the 374,000 sold by Eric Clapton’s Unplugged album over Christmas week of 1992 (reflected on the chart dated Jan. 9, 1993). Both Styles and Clapton were born in England — Styles in Redditch, Worcestershire, and Clapton in Ripley, Surrey. (The largest sales week for an album by a female U.K. artist — and for any album — remains the debut of Adele’s 25 in 2015 with 3.38 million sold. The largest sales frame by a U.K. group is the 1.26 million sold by The Beatles’ greatest hits set 1 over Christmas week of 2000.)

Fourth-Biggest Vinyl Sales Week in Nielsen Music History: Fine Line was also a big seller on vinyl LP, as the album sold 28,000 copies on the format in its debut week. The only larger weeks for a vinyl album since Nielsen Music launched in 1991 were garnered by Adele’s 25 in the week ending Dec. 24, 2015 (31,000), Pearl Jam’s Vitalogy in its opening week (34,000 exclusively on vinyl LP in the week ending Nov. 27, 1994, before it became widely available on CD) and Jack White’s Lazaretto in its debut week (40,000; June 14, 2014). 

At No. 2 on the new Billboard 200, country superstar Blake Shelton collects his 12th top 10 album, as Fully Loaded: God’s Country enters with 96,000 equivalent album units earned. Of that sum, 83,000 were in album sales. Like Styles’ Fine Line, Shelton’s Fully Loaded was boosted by a concert ticket/album sale redemption offer.

The 12-song Fully Loaded: God’s Country album operates as a greatest hits collection for Shelton, and includes five No. 1 hits on the Country Airplay chart: “Came Here to Forget,” “A Guy With a Girl,” “Every Time I Hear That Song,” “I’ll Name the Dogs” and his most recent leader, “God’s Country.”

Fully Loaded is the third in a series of best-of collections for Shelton, following Reloaded: 20 #1 Hits (2015) and Loaded: The Best of Blake Shelton (2011).

Fully Loaded also marks the highest-charting greatest hits album on the Billboard 200 since October of 2017, when Tom Petty & The Heartbreakers’ Greatest Hits spent two weeks at No. 2 in the wake of Petty’s death on Oct. 2 of that year.

Back on the new Billboard 200, Roddy Ricch​’s Please Excuse Me for Being Anti-Social dips from No. 1 to No. 3 in its second week, earning 81,000 equivalent album units (down 20%). A trio of former No. 1s follow Ricch: Post Malone’s Hollywood’s Bleeding is steady at No. 4 with 63,000 units (down 5%), the Frozen II soundtrack rises 7-5 with 60,000 units (up 3%) and Michael Bublé​’s Christmas ascends 8-6 with 58,000 units (up 11%).

Pentatonix​’s The Best of Pentatonix Christmas hits a new high, rising 9-7 with 56,000 equivalent album units (up 8%, beating its previous peak of No. 8), Mariah Carey’s Merry Christmas shifts 12-8 with 51,000 units (up 18%) and Billie Eilish​’s former No. 1 When We All Fall Asleep, Where Do We Go? steps 11-9 with 49,000 units (up less than 1%).

Swift’s previous leader Lover rounds out the top 10, moving 13-10 with 47,000 equivalent album units earned (up 9%).

Source: billboard.com

It’s the first holiday hit to reign since “The Chipmunk Song” in 1958-59.

Completing a journey 25 years in the making, Mariah Carey‘s 1994 carol “All I Want for Christmas Is You” crowns the Billboard Hot 100 for the first time, jingling 3-1 on the chart dated Dec. 21, 2019.

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 (and matched the rank last week).

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Dec. 17).

Let’s unwrap the many highlights of the Hot 100’s new No. 1. The song, on Columbia/Legacy Records, is the 1,095th leader in the chart’s 61-year history.

Streams, sales & airplay: “Christmas” tops the Streaming Songs chart for a second consecutive week, and third total frame, after a week at No. 1 last holiday season, up 30% to 45.6 million U.S. streams in the week ending Dec. 12, according to Nielsen Music.

It also takes over at No. 1 on Digital Song Sales, gaining by 185% to 27,000 sold in the week ending Dec. 12. The song previously led the list dated Dec. 24, 2005.

On Radio Songs, “Christmas” climbs 32-27, improving by 11% to 34.4 million in all-format airplay audience in the week ending Dec. 15.

First holiday No. 1 on Hot 100 in 61 years: Carey’s “Christmas” is 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. (Seville, real name Ross Bagdasarian Sr., wrote the latter and performed all voices of the cartoon characters.)

Notably, for several years in the Hot 100’s history (1963-72; 1983-85, barring occasional exceptions), holiday songs were not eligible to chart, instead appearing on separate holiday rankings.

Carey’s 19th Hot 100 No. 1: Carey adds her 19th Hot 100 No. 1, extending her record for the most among soloists.

She also moves to within one of The Beatles‘ overall-record 20 Hot 100 No. 1s.

The acts with the most Hot 100 No. 1s, dating to the chart’s Aug. 4, 1958, inception: The Beatles (20), Carey (19), Rihanna (14), Michael Jackson (13), and Madonna and The Supremes (12 each).

80th week at No. 1: Carey collects her record-extending 80th total week at No. 1 on the Hot 100. The top five acts who’ve spent the most weeks at the summit: Carey (80), Rihanna (60), The Beatles (59), Boyz II Men (50) and Drake (49).

Of Carey’s 19 Hot 100 No. 1s, she spent the most time in the top spot with “One Sweet Day,” with Boyz II Men: a then-record 16 weeks, in 1995-96. The ballad solely held the mark for the most weeks at No. 1 until Luis Fonsi and Daddy Yankee‘s “Despacito,” featuring Justin Bieber, matched its reign in 2017. This August, Lil Nas X‘s “Old Town Road,” featuring Billy Ray Cyrus, rewrote the record, dominating for 19 weeks.

New record span of No. 1s: “Christmas” grants Carey the record for the longest span of Hot 100 No. 1s: 29 years, four months and two weeks, dating to her first week at No. 1 on the chart dated Aug. 4, 1990, with “Vision of Love.”

Carey passes Cher, whose solo No. 1s span 27 years and five months, from “Gypsys, Tramps & Thieves” (from its first week at No. 1 on Nov. 6, 1971) through “Believe” (through its last week on top on April 3, 1999). (If Cher’s career as half of duo Sonny & Cher were combined with her solo output, her No. 1 span would cover 33 years, seven months and two weeks, from Sonny & Cher’s “I Got You Babe,” which reached the top in August 1965, through “Believe.”)

No. 1s in the ’90s, ’00s & ’10s: Carey joins an elite club of acts with Hot 100 No. 1s in the 1990s, 2000s & 2010s. Its previously-inducted members: Christina Aguilera, Britney Spears and Usher.

Aguilera tallied one No. 1 in the ’90s, three in the ’00s and one in the ’10s; Spears scored one in the ’90s and two each in the ’00s and ’10s; and Usher led once in the ’90s, seven times in the ’00s and once this decade.

Carey’s decade-by-decade breakout: 14 No. 1s in the ’90s, four in the ’00s and now one in the ’10s.

Notably, no act has ever logged time at No. 1 on the Hot 100 in four distinct decades, consecutively or otherwise. Thus, if “Christmas” is No. 1 on the chart dated Jan. 4, two weeks from now, Carey would become the first artist to achieve the honor.

11 years between No. 1s: With “Christmas,” Carey tops the Hot 100 for the first time since April 19, 2008, when her 18th No. 1, “Touch My Body,” spent its second of two weeks on top. Her 11-year and eight-month gap between No. 1s marks the longest since Dr. Dre went 12 years, two months and three weeks between his featured turn on Blackstreet‘s “No Diggity” in 1996 and “Crack a Bottle,” with Eminem and 50 Cent, in 2009.

Among artists in lead roles on both book-ending hits, Carey ends the longest No. 1 drought since Cher, whose “Believe” hit the top spot 10 days shy of 25 years since she’d last led with “Dark Breed” in 1974.

Record longest trip to No. 1: As noted in December 2017, when Carey’s then-23-year-old “Christmas” rose 11-9, the carol completed the longest journey to the top 10 from a song’s release. Now, it wraps the most scenic route to No. 1, at over 25 years.

Among other songs that took time to reign in various forms, Elton John‘s Princess Diana tribute “Candle in the Wind 1997” ruled for 14 weeks in 1997-98 after he’d originally recorded the song (as a Marilyn Monroe ode) in 1973; it first reached the Hot 100 as a live version, hitting No. 6 in 1988. Plus, John sent the original “Don’t Let the Sun Go Down on Me” to No. 2 in 1974, before its live update, with George Michael, rose to No. 1 in 1992.

Considering remake-related examples, Los Lobos‘ “La Bamba” led in 1987, after Ritchie Valens‘ original had hit No. 22 in 1959, and earlier this year, Ariana Grande‘s “7 Rings” spent eight weeks it No. 1; the song credits, among its 10 writers, Richard Rodgers and Oscar Hammerstein II, as it contains a portion of “My Favorite Things,” written by the pair 60 years earlier.

At 35 total Hot 100 weeks to No. 1, “Christmas” also breaks the record for most weeks on the chart until reaching the summit. It passes Los Del Rio‘s “Macarena (Bayside Boys Mix),” which took 33 chart weeks in 1995-96; it first reached No. 45 in September 1995, departed the survey for four months in January-May 1996 and ascended to No. 1 for its first of 14 weeks on top that August.

As for the 35 weeks on the Hot 100 for “Christmas” …

‘Christmas’ on the Hot 100: Let’s recount further details behind a song from 1994 just hitting the Hot 100’s top spot for the first time 25 years later.

Upon its initial release, on Carey’s album Merry Christmas (released on Nov. 1, 1994, coincidentally, the 100th anniversary of the first Billboard magazine, dated Nov. 1, 1894), the song was not a commercially-available single and, per rules at the time, was ineligible to chart on the Hot 100; it did reach No. 12 on the Radio Songs chart that season. In December 1998, album cuts became eligible for the Hot 100 and “Christmas” dented the chart for the first time on Jan. 8, 2000, spending a week at No. 83.

Beginning in 2012, and coinciding with the addition of streaming to the Hot 100’s formula, the song has hit the Hot 100 annually, as, per current rules, older songs are eligible to debut or return if ranking in the top 50 and are gaining in multiple metrics with a significant reason for their resurgences.

25th anniversary boost: The song’s profile has risen this year, with Carey releasing a 25th-anniversary edition of Merry Christmas; a new video, featuring previously unreleased footage; and a new CD single, marking the song’s first-ever release as a stand-alone commercial single. (For two days in the tracking week ending Dec. 12, Carey sold CD singles of “Christmas” on her website, available for pre-order with consumers receiving a download upon purchase.)

Carey’s first seven Billboard 200 entries have now generated at least one Hot 100 No. 1 each: “Christmas” parent album Merry Christmas sports a Hot 100 No. 1 at last, retroactively making for an impressive streak for Carey, as her first seven entries on the Billboard 200 have now all generated at least one Hot 100 leader each.

Here’s a recap of Carey’s first seven charted titles on the Billboard 200 and their amount of Hot 100 No. 1s: Mariah Carey, 1990 (four); Emotions, 1991 (one); MTV Unplugged, 1992 (one); Music Box, 1993 (two); Merry Christmas, 1994 (one); Daydream, 1995 (three); and Butterfly, 1997 (two).

Carey’s eighth Billboard 200 appearance was VH1 Divas Live, with Celine Dion, Gloria Estefan, Aretha Franklin and Shania Twain, followed by her best-of # 1’s, neither of which generated any Hot 100 No. 1s. Her next entry, 1999’s Rainbow, produced one No. 1, while 2005’s The Emancipation of Mimi (two) and 2008’s E=MC2 (one) combine to give Carey 10 albums that have generated Hot 100 leaders.

(Reflecting both her sustained success and the odyssey to the top for her latest leader, Carey logged 10 Hot 100 No. 1s after releasing “Christmas,” from “Fantasy” in 1995 through “Touch My Body” in 2008.)

Writers & producers: Carey wrote and produced “Christmas” with Walter Afanasieff. She adds her 18th Hot 100 No. 1 as a writer, having co-written all of her leaders except her 1992 remake of Jackson 5’s “I’ll Be There.” She notches her 14th No. 1 as a producer.

Afanasieff achieves his fourth Hot 100 No. 1 as a writer, following co-writes of Carey’s “Hero,” “One Sweet Day” and “My All.” He earns his 11th leader as a producer, following his work on Carey’s “Love Takes Time,” “I’ll Be There,” “Dreamlover,” “Hero,” “One Sweet Day” and “My All,” as well as Michael Bolton‘s “When a Man Loves a Woman”; Peabo Bryson and Regina Belle‘s “A Whole New World (Aladdin’s Theme)”; Celine Dion’s “My Heart Will Go On”; and Savage Garden‘s “I Knew I Loved You.”

No. 1 Holiday 100: Along with its new Hot 100 reign, “Christmas” concurrently tops the multi-metric Holiday 100 chart for a 38th total week, of the 43 overall frames in the chart’s history, dating to its 2011 inception.

Find out more Hot 100 news on Billboard.com, including a rundown of the rest of the top 10. Plus, 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. 17), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Rapper Roddy Ricch starts straight in at No. 1 on the Billboard 200 chart with his debut studio album, Please Excuse Me for Being Antisocial. The set, which was released on Dec. 6 via Bird Vision/Atlantic Records, starts with 101,000 equivalent album units earned in the U.S. in the week ending Dec. 12, according to Nielsen Music.

Also in the top 10, the Who’s new album, simply titled Who, starts at No. 2, tying the band’s best career rank, with 89,000 units; Camila Cabello​’s Romance bows at No. 3 with 86,000 units and XXXTentacion​’s posthumous release Bad Vibes Forever bows at No. 5 with 65,000 units. Meanwhile, Goodbye & Good Riddance and Death Race for Love, by the late Juice WRLD, climb back to the top 10 following his death on Dec. 8.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 21-dated chart (where Please Excuse Me bows at No. 1) will be posted in full on Billboard‘s websites on Dec. 17.

Of Please Excuse Me’s overall start of 101,000 units, SEA units comprise 98,000 (equaling 130.7 million in on-demand audio streams for the set’s songs), along with 3,000 in album sales, and under 1,000 in TEA units.

Roddy Ricch (real name: Rodrick Moore) made his Billboard chart debut only a little more than a year ago, with his Feed Tha Streets II mixtape. The set bowed at No. 68 on the Billboard 200 dated Nov. 17, 2018. He hit the all-genre Billboard Hot 100 songs chart a month later through his featured role on Meek Mill’s “Splash Warning,” debuting at No. 77 on the Dec. 15 list. Roddy Ricch claimed his first top 40 hit on the Hot 100 with his featured turn on his friend Nipsey Hussle​’s “Racks in the Middle,” which peaked at No. 26 on the April 20, 2019-dated list, shortly after Nipsey’s death on March 31.

The 21-year-old Ricch recently scored his first Grammy nominations, as he collected a trio of nods: best rap performance and best rap song for “Racks in the Middle,” along with best rap/sung performance for his featured role on Mustard’s “Ballin’.” The latter cut, which is not on Please Excuse Me, recently became Ricch’s first top 20 hit on the Hot 100, when it jumped 25-20 on the Nov. 30-dated chart. On the most recently published list, dated Dec. 14, it held at its peak of No. 16.

Legendary rock band the Who debuts at No. 2 with its latest album, Who. The set earned 89,000 equivalent album units in the tracking week, with 88,000 of that sum in album sales. The set’s bow was largely driven by sales generated from a concert ticket/album sale redemption offer with the band’s summer tour. The new album is the Who’s first studio effort since 2006’s Endless Wire, which debuted and peaked at No. 7.

In total, the Who has garnered 11 top 10 albums, with three of those going as high as No. 2: Quadrophenia (1973), Who Are You (1978) and now Who (2019).

Pop star Camila Cabello arrives at No. 3 with her second solo album, Romance. The set launches with 86,000 equivalent album units earned, with 54,000 of that sum in album sales. The rest of the album’s units were generated by 30,000 in SEA units (equating to 40.6 million on-demand audio streams for its songs in its first week) and 2,000 TEA units.

Romance‘s streaming start of 40.6 million clicks is the third-largest streaming debut for a pop album by a female artist in 2019. Only the arrivals of Ariana Grande’s Thank U, Next and Taylor Swift’s Lover were larger among pop sets by women. (Pop titles are those that did not chart on a genre-specific chart such as Alternative Albums, R&B Albums, etc.)

Like The Who’s Who, Romance was also aided by sales generated from a concert ticket/album sale redemption offer. Cabello additionally sold an array of merchandise/album bundles via her official webstore.

Earlier in 2019, Cabello saw the new album’s “Señorita,” a duet with Shawn Mendes, hit No. 1 on the Hot 100 (Aug. 31). She’s since followed it with two more charting tracks from the album (through the most recently published Hot 100, dated Dec. 14): “Liar” (so far peaking at No. 52) and “Shameless” (No. 60).

Romance follows Cabello’s first album, Camila, which debuted at No. 1 on the Billboard 200 dated Jan. 27, 2018, earning 119,000 units in its first week. Camila topped the Billboard 200 the same week that the set’s single, “Havana,” featuring Young Thug, also reached No. 1 on the Hot 100.

Back on the Billboard 200, Post Malone’s former No. 1, Hollywood’s Bleeding, falls from No. 2 to No. 4 with 66,000 equivalent album units (up 2%).

The fourth and final debut in the top 10 is XXXTentacion’s Bad Vibes Forever, which arrives at No. 5 on the Billboard 200 with 65,000 equivalent album units earned. Of that sum, album sales comprise 16,000. The hip-hop artist died on June 18, 2018, and Bad Vibes Forever marks his second posthumous No. 1; the set has been publicized as his final album. He previously hit the top with his last release, Skins (on the Dec. 22, 2018-dated chart) and ? (March 31, 2018). He also logged two further top 30-charting titles: 17 (No. 2; Sept. 16, 2017) and Revenge (No. 28; July 7, 2018).

A pair of albums from the late Juice WRLD return to the top 10, as Goodbye & Good Riddance climbs 71-6 with 59,000 equivalent album units (up 405%) while his former No. 1 Death Race for Love zooms 88-10 with 49,000 units (up 380%). The albums climb following the death of the hip-hop star on Dec. 8. Another album by Juice WRLD, his collaborative set with Future, WRLD on Drugs, re-enters the chart at No. 75 with 13,000 units (up 266%).

The Frozen II soundtrack falls from No. 1 to No. 7 with 59,000 equivalent album units (down 27%).

Rounding out the new top 10 are Michael Bublé’s former No. 1, Christmas, slipping 6-8 with 52,000 equivalent album units earned (up 8%) and Pentatonix’s The Best of Pentatonix Christmas, falling 8-9 with 52,000 units (up 20%).

Source: billboard.com

Plus: Fabolous debuts at No. 7, while Pentatonix scores 10th top 10.

The Frozen II soundtrack jumps to No. 1 on the Billboard 200 albums chart, as the set rises 3-1 with 80,000 equivalent album units earned in the U.S. in the week ending Dec. 5, according to Nielsen Music. It’s the first week at No. 1 for the album. The set was released on Nov. 15 via Walt Disney Records, and is the companion album to the blockbuster animated sequel film of the same name.

Frozen II is the first new full-length soundtrack to reach No. 1 for the first time in 2019. It’s also the first soundtrack of an animated film to hit No. 1 since the first Frozen film soundtrack, which spent 13 weeks at No. 1 in 2014.

Elsewhere in the top 10 on the new Billboard 200: Michael Bublé’s former No. 1 album Christmas returns to the region, Fabolous debuts with Summertime Shootout 3: Coldest Summer Ever, and Pentatonix lands its tenth top 10 as The Best of Pentatonix Christmas climbs 18-8.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 14-dated chart, where Frozen II rises to No. 1, will be posted in full on Billboard‘s websites on Dec. 10.

Of Frozen II’s total equivalent album unit sum earned in the week ending Dec. 5, SEA units total 39,000, album sales comprise 37,000 and TEA units total 4,000. The SEA sum translates to 50.7 million on-demand streams earned for the album’s tracks.

Frozen II is only the third soundtrack to spend time at No. 1 in 2019. On Nov. 9, Kanye West’s Jesus Is King topped the list for a week. (The set also serves as a companion piece to his short film of the same name.) And, back on March 9, Lady Gaga and Bradley Cooper’s A Star Is Born returned to No. 1 for a fourth nonconsecutive week, following the Feb. 24 Academy Awards broadcast. (It spent three weeks at No. 1 in 2018.)

Frozen II is the sequel to the 2014’s blockbuster Frozen, which saw its soundtrack spend 13 weeks at No. 1 on the Billboard 200 chart (back when it was an album sales-only ranking), the most for a soundtrack this century. The first Frozen soundtrack finished 2014 as the second-biggest selling album of that year in the U.S., and the No. 1 album on the year-end Billboard 200 chart.

The Frozen II soundtrack features performances of songs heard in the film by the movie’s voice actors (including Idina Menzel, Kristen Bell, Josh Gad, Jonathan Groff and Evan Rachel Wood) and a trio of acts that cover some of the film’s tunes (Panic! at the Disco, Kacey Musgraves and Weezer).

Frozen II logs a notable feat with its rise to No. 1 in its third week on the chart, as it is only the second album to top the chart without debuting atop it. The last album to climb to the top, for its first week at No. 1, was on the Jan. 19-dated list, when A Boogie Wit da Hoodie’s Hoodie SZN rose 2-1 in its third chart week.

Frozen II is the 38th No. 1 album of 2019. Of those 38, one was a carry-over from 2018 (A Star Is Born, with three weeks at No. 1 in 2018, and one in 2019). And, of the 38 No. 1s, just two — Frozen II and Hoodie SZN — did not debut at No. 1.

Frozen II and Frozen join a limited number of theatrical film or TV movie soundtracks that saw both their original and sequel film albums top the chart. Among previous sets of leaders, the soundtrack to the TV movies High School Musical and High School Musical 2 both topped the list (in 2006 and 2007, respectively), as did Twilight and The Twilight Saga: New Moon (2008, 2009).

Frozen II is also just the fifth animated film soundtrack to reach No. 1 on the Billboard 200 since it became a regularly published weekly chart in 1956. Frozen II follows Frozen (2014), Jack Johnson‘s Curious George (2006), and two more Walt Disney Records albums: Pocahontas (1995) and The Lion King (1994).

At No. 2 on the new Billboard 200, Post Malone’s former leader Hollywood’s Bleeding climbs 4-2 despite an 11% decline in units, as it earned 65,000 for the week (down from 73,000).

Trippie Redd’s A Love Letter to You 4 falls 1-3 in its second week on the chart, earning 54,000 units (down 48%). A pair of former No. 1s are next on the list, as Taylor Swift’s Lover rises 6-4 with 52,000 units (up 3%) and Billie Eilish’s When We All Fall Asleep, Where Do We Go? is a non-mover at No. 5 with 50,000 units (down 5%).

Bublé’s Christmas, which spent five weeks at No. 1 in late 2011 and early 2012, returns to the top 10, as the seasonal set climbs 17-6 with 48,000 equivalent album units earned (up 63%). Following its five-week run at No. 1, the album has returned to the top 10 in every Christmas season since. It’s been so successful on the chart, it closes out the decade as the No. 24 biggest album on the Billboard 200, and the highest-ranking holiday effort in the decade.

Switching genres, rapper Fabolous debuts at No. 7 on the new Billboard 200 with his latest effort, Summertime Shootout 3: Coldest Summer Ever. The set launches with 44,000 equivalent album units earned, with 37,000 of that sum in SEA units (translating to 46.9 million in on-demand audio streams), 6,000 in album sales and 1,000 in TEA units. Summertime is the hip-hop star’s seventh top 10 set. He logged his first with 2001’s Ghetto Fabolous, which peaked at No. 4.

Penatonix’s The Best of Pentatonix Christmas rises 18-8 in its sixth week on the chart, giving the vocal group its tenth top 10 album. The hits collection earned 43,000 equivalent album units (up 64%) with 20,000 of that sum in album sales (up 52%). The Best Of collects favorites from the group’s previous four holiday albums, along with four new songs. Pentatonix is always a favorite during the holiday season, as of the group’s ten top 10 albums, five are holiday efforts. Combined, their holiday albums have sold 4.5 million copies in the U.S.

Speaking of holiday music, Mariah Carey’s 1994 Merry Christmas album vaults 21-9 with 37,000 equivalent album units earned (up 63%). Of that sum, 8,000 were in album sales (up 44%). The album — which features the enduring hit song “All I Want for Christmas Is You” — has so-far peaked at No. 3, back during its initial chart run in 1994.

Closing out the new top 10 is Summer Walker’s Over It, which is steady at No. 10 with 35,000 units (down 10%).

Source: billboard.com

‘Roxanne’ roars from No. 12 to No. 5.

Post Malone tallies a second week at No. 1 on the Billboard Hot 100 with “Circles,” which takes over as the top-selling song in the U.S. after the singer-songwriter and rapper performed it on the American Music Awards on Nov. 24.

Plus, Arizona Zervas’ debut hit “Roxanne” soars from No. 12 to No. 5 on the Hot 100, as it remains the most-streamed song in the country.

Let’s run down the top 10 on the Hot 100 (dated Dec. 7), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Dec. 3).

“Circles,” released on Republic Records, blasts from No. 6 to No. 1 on the Digital Song Sales chart, surging by 45% to 20,000 sold in the week ending Nov. 28, according to Nielsen Music. It rises 5-3 on Streaming Songs, up 5% to 24.6 million U.S. streams in the same span, while keeping at No. 3 on Radio Songs, with 90.6 million audience impressions, essentially even week-over-week, in the week ending Dec. 1.

Helping spark its gains, Post Malone performed “Circles” in a medley with “Take What You Want” (with Ozzy Osbourne, Travis Scott and Watt) on the AMAs, which aired live on Nov. 24 on ABC. Both songs are from Post Malone’s LP Hollywood’s Bleeding, which won for favorite album – rap/hip-hop that night.

With “Circles,” Post Malone adds his fourth Digital Song Sales No. 1, after “Rockstar,” featuring 21 Savage, ruled for a week in October 2017, “Psycho,” featuring Ty Dolla $ign, led for two weeks beginning in March 2018 and “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, reigned for three frames in January.

Lewis Capaldi’s “Someone You Loved” holds at No. 2 on the Hot 100, after the ballad logged three weeks at No. 1. It becomes his first No. 1 on the Adult Contemporary radio airplay chart (after topping the Adult Pop Songs and Pop Songs airplay tallies for seven and three weeks, respectively).

Lizzo’s “Good as Hell” spends a second week at its No. 3 Hot 100 best, as it adds a fifth week at No. 1 on the Hot R&B Songs chart and a third frame atop Hot R&B/Hip-Hop Songs (both of which employ the same multi-metric methodology as the Hot 100), as well as a second week at No. 1 on Radio Songs (97.4 million, up 4%).

Maroon 5’s “Memories” is steady at its No. 4 Hot 100 high, as it becomes the band’s record-extending 14th No. 1 on Adult Pop Songs.

Arizona Zervas’ breakthrough hit “Roxanne” bounds from No. 12 to No. 5 on the Hot 100, as it tallies a second week at No. 1 on Streaming Songs (36.6 million, up 22%), rises 42-33 on Digital Song Sales (5,000, up 12%) and pushes closer to Radio Songs (15.2 million, up 65%).

The track reaches the Hot 100’s top 10 in its fourth week on the survey, after it debuted at No. 34 on the chart dated Nov. 16. Upon its entrance, the song was self-released, before Zervas signed with Columbia Records.

“Roxanne” concurrently becomes Zervas’ first No. 1 on the multi-metric Hot Rap Songs chart. (The song by the Maryland native is not a remake of The Police’s “Roxanne,” the band’s first Hot 100 hit that reached No. 32 in 1979.)

Selena Gomez’s “Lose You to Love Me” dips 5-6 on the Hot 100, after becoming her first No. 1, while becoming her eighth top 10 on Radio Songs (13-9; 62.2 million, up 16%).

Shawn Mendes and Camila Cabello’s former Hot 100 No. 1 “Señorita” descends 6-7 and Dan + Shay and Justin Bieber’s “10,000 Hours” rises 9-8, after debuting at its No. 4 peak. The latter leads the multi-metric Hot Country Songs chart for an eighth week.

As Post Malone did, Gomez, Mendes, Cabello and Dan + Shay also all shone in the AMAs spotlight on Nov. 24. Gomez performed “Lose” (in a medley with her fellow new song “Look at Her Now”); Mendes and Cabello sang “Señorita,” which also won for collaboration of the year; and Dan + Shay claimed the award for favorite duo or group – country.

Rounding out the Hot 100’s top 10, Lizzo’s former seven-week No. 1 “Truth Hurts” rebounds 10-9 (after she performed her song “Jerome” on the AMAs) and Chris Brown’s “No Guidance,” featuring Drake, falls 7-10, after reaching No. 5.

Just outside the Hot 100’s top 10, Tones and I’s “Dance Monkey” leaps 19-11, DaBaby’s “Bop” jumps 18-12, Mustard’s “Ballin’,” featuring Roddy Ricch, rises 20-16 and Mariah Carey’s 1994 seasonal classic “All I Want for Christmas Is You” dashes 31-18.

Souce: billoard.com

Plus: Jason Aldean, Coldplay and YNW Melly debut in top 10, while “Frozen II” blasts 15-3.

Rapper Trippie Redd captures his first No. 1 album on the Billboard 200 chart, as A Love Letter to You 4 debuts atop the tally. The set, which was released on Nov. 22 via TenThousand Projects, earned just under 104,000 equivalent album units in the week ending Nov. 28 in the U.S., according to Nielsen Music.

A Love Letter To You 4 marks the prolific artist’s fourth top 10 album on the Billboard 200, and all of them have come in a little over a year. He previously visited the top 10 with ! (No. 3 on the chart dated Aug. 24, 2019), A Love Letter to You 3 (No. 3; Nov. 24, 2018) and Life’s a Trip (No. 4; Aug. 25, 2018).

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 Dec. 7-dated chart, where A Love Letter to You 4 debuts at No. 1, will be posted in full on Billboard‘s websites on Dec. 3.

Of A Love Letter to You 4’s total unit start of nearly 104,000, album sales comprise 14,000, TEA units equal 1,000 and SEA units total 88,000. (All numbers are rounded to the nearest thousand.) The set’s first week got a small bump from album sales generated by a concert ticket/album sale redemption offer with the artist’s upcoming tour (starting in January) and some merchandise/album bundles sold via his official website.

The majority of the new album’s units were powered by streaming activity, and its haul of 88,000 SEA units translates to 125.9 million on-demand audio streams for the album’s tracks during its first week. No surprise, the set was also the most streamed album of the week overall.

At No. 2 on the Billboard 200, Jason Aldean debuts with his new 9 album, starting with 83,000 equivalent album units earned. The bulk of the new studio effort’s bow was tallied via 68,000 in album sales. Like Trippie Redd, Aldean’s sales figure was goosed by a concert ticket/album sale redemption offer.

9 is the country star’s eighth top 10 album, and all of them have been consecutive. Aldean started his top 10 hot streak with 2007’s Relentless, which rose to No. 7. Amongst his top 10s are four No. 1s in a row: Night Train (2012), Old Boots, New Dirt (2014), They Don’t Know (2016) and Rearview Town (2018). Aldean’s only charting effort to miss the top 10 was his first entry, a self-titled set, which peaked at No. 37 in 2005.

The Frozen 2 soundtrack storms into the top 10, vaulting 15-3 in its second week on the list. The set earned 79,000 equivalent album units (up 214%), with 43,000 of that sum in album sales (up 133%). The album is basking in the glow of the film’s blockbuster grosses in U.S. theaters since its debut on Nov. 21.

The new film is the sequel to the 2014’s Frozen, which saw its soundtrack spend a whopping 13 weeks at No. 1 on the Billboard 200 chart (back when it was an album sales-only ranking), the most for a soundtrack this century. The first Frozen soundtrack finished 2014 as the second-biggest selling album of that year in the U.S., and the No. 1 album on the year-end Billboard 200 chart.

Back on the new Billboard 200, Post Malone’s former No. 1 Hollywood’s Bleeding dips 3-4 with 73,000 equivalent album units earned (up 6%).

Another former No. 1, Billie Eilish’s When We All Fall Asleep, Where Do We Go?, bolts 9-5 with 52,000 units (up 52%). The set’s rise is owed largely to the $15 sale pricing of the album’s vinyl edition at both Walmart and Target during the tracking week. In total, the album — across all formats, including CD, download and vinyl LP — sold 27,000 copies, with a gain of 180%, and most of those sales were on wax. In terms of pure vinyl LP sales, it moved a whopping 20,000 copies (up 345%) — the second-largest sales week of 2019 for a vinyl LP (trailing only the 25,000-copy debut of The Raconteurs’ Help Us Stranger).

Taylor Swift’s former No. 1 Lover falls 4-6 on the Billboard 200 with 51,000 equivalent album units (down 10%).

Coldplay collects its seventh top 10 album with the debut of its new studio effort Everyday Life at No. 7. The set launches with 48,000 equivalent album units earned, with 36,000 of that sum in album sales. The band first visited the Billboard 200 chart nearly 19 years ago, when the group’s debut full-length studio set, Parachutes, bowed on the tally dated Dec. 30, 2000 at No. 189. Parachutes eventually climbed to a peak of No. 51 on March 17, 2001. Since then, all seven of Coldplay’s subsequent full-length studio efforts, including the new album, have debuted in the top 10 (including four No. 1s).

The fourth and final debut in the top 10 is YNW Melly’s Melly vs. Melvin, which bows at No. 8 with 43,000 equivalent album units (with just 1,000 of that sum in album sales). It’s the first top 10 for the rapper, who is currently in jail after being charged with two counts of first-degree murder earlier in 2019.

Closing out the new top 10 are Luke Combs’ previous No. 1, What You See Is What You Get, which falls 5-9 with 41,000 equivalent album units (down 25%), and Summer Walker’s Over It, which slips 7-10 with 39,000 units (down 7%).

Source: billboard.com

Post Malone adds his fourth Hot 100 leader, the most of all artists since his first in 2017.

Post Malone notches his fourth No. 1 song on the Billboard Hot 100, as “Circles” ascends from No. 2. Since scoring his first No. 1 on the chart in October 2017, his four leaders are the most among all artists.

Plus, Lizzo‘s “Good as Hell” hits a new Hot 100 high, lifting 4-3, as it becomes the most-heard hit on U.S. radio, rising to No. 1 on the Radio Songs chart, and Billie Eilish logs her second Hot 100 top 10, as “Everything I Wanted” vaults from No. 74 to No. 8 following its first full week of tracking.

Let’s run down the top 10 on the Hot 100 (dated Nov. 30), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Nov. 26).

Here’s a deeper look at Post Malone’s new No. 1. The song, released on Republic Records, is the 1,093rd leader in the Hot 100’s 61-year history.

Airplay, sales & streams: “Circles” slips 2-3 on Radio Songs, but with a 3% boost to 91.1 million audience impressions, in the week ending Nov. 24, according to Nielsen Music. It rises 6-5 on Streaming Songs with 23.4 million U.S. streams, up 2%, in the week ending Nov. 21, while dipping 5-6 on Digital Song Sales with 14,000 sold, down 7%, in the same span.

Here’s a deeper look at Post Malone’s new No. 1. The song, released on Republic Records, is the 1,093rd leader in the Hot 100’s 61-year history.

Airplay, sales & streams: “Circles” slips 2-3 on Radio Songs, but with a 3% boost to 91.1 million audience impressions, in the week ending Nov. 24, according to Nielsen Music. It rises 6-5 on Streaming Songs with 23.4 million U.S. streams, up 2%, in the week ending Nov. 21, while dipping 5-6 on Digital Song Sales with 14,000 sold, down 7%, in the same span.

Post Malone’s fourth No. 1: Post Malone adds his fourth Hot 100 No. 1, and first billed solely to the singer-songwriter and rapper. “Rockstar,” featuring 21 Savage, reigned for eight weeks beginning on the chart dated Oct. 28, 2017; “Psycho,” featuring Ty Dolla $ign, topped the June 16, 2018-dated ranking; and “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, led the list earlier this year, on the chart dated Jan. 19.

Brightest star: Since “Rockstar” became his first Hot 100 No. 1 on the chart dated Oct. 28, 2017, Post Malone’s four leaders on the list are the most among all artists, as he breaks out of a tie with Drake, who has tallied three in that span (all in 2018). Camila Cabello, Cardi B, Ariana Grande and Travis Scott follow with two each in that stretch.

Writers & producers: Post Malone wrote “Circles” with Louis Bell, Frank Dukes, Billy Walsh and Kaan Gunesberk, and produced it with Bell and Dukes.

Post Malone notches his fourth Hot 100 No. 1 as a writer (encompassing all his leaders as an artist) and second as a producer, after “Psycho.” Bell achieves his seventh No. 1 as a writer and fifth as a producer, while Dukes tallies his third leader in both roles. Walsh and Gunesberk each earn their second Hot 100 No. 1s as writers.

13 lucky No. 1s in 2019: “Circles” is the 13th song to rise to No. 1 on the Hot 100 in 2019, marking the greatest total since 13 songs ascended to the summit in all of 2011. As previously noted, the relatively rapid turnover at the top this year is especially notable given that Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, blocked all challengers for a record 19 weeks (April 13-Aug. 17).

Top shape: Meanwhile, “Circles” is the second Hot 100 No. 1 with that word in its title. An earlier rock star, Billy Preston, ruled for two weeks in July 1973 with “Will It Go Round in Circles.”

“Circles” dethrones Lewis Capaldi’s “Someone You Loved” atop the Hot 100, as the ballad drops to No. 2 after three weeks at No. 1.

Lizzo’s “Good as Hell” ascends to a new Hot 100 high (4-3) and completes its climb to No. 1, from No. 3, on Radio Songs (94.2 million, up 10%). The track is her second consecutive leader on the airplay tally, after “Truth Hurts” reigned for six weeks beginning in September. “Good” likewise becomes her second No. 1, after “Truth,” on the Pop Songs airplay chart.

“Good” adds a fourth week at No. 1 on the Hot R&B Songs chart and a second frame atop Hot R&B/Hip-Hop Songs (both of which employ the same multi-metric methodology as the Hot 100).

Maroon 5’s “Memories” reaches a new Hot 100 peak (5-4), while Selena Gomez’s “Lose You to Love Me” rebounds 8-5, three weeks after topping the chart. The latter wins the Hot 100’s top Airplay Gainer award, as it leaps 20-13 on Radio Songs (53.7 million, up 24%).

Shawn Mendes and Cabello’s former one-week Hot 100 No. 1 “Señorita” slips 3-6 and Chris Brown’s “No Guidance,” featuring Drake, is steady at No. 7, after reaching No. 5.

Billie Eilish’s “Everything I Wanted” rockets from No. 74 to No. 8 on the Hot 100 following its first full week of data tracking, after its Nov. 13 release.

The ballad claims top Streaming Gainer and Sales Gainer honors on the Hot 100 as it begins at No. 2 on Streaming Songs with 26.4 million U.S. streams Nov. 15-21 (after drawing 7.5 million Nov. 13-14) and surges 12-2 on Digital Song Sales with 17,000 sold (after selling 10,000 in its first two days of availability). Also securing 4.9 million in all-format radio reach in the week ending Nov. 24, it enters the Alternative Songs airplay chart at No. 35.

Eilish earns her second Hot 100 top 10, after “Bad Guy,” which led the Aug. 24-dated chart (and currently ranks at No. 17). “Everything” is, as of now, a stand-alone single, while “Bad Guy” is from her former No. 1 Billboard 200 album, When We All Fall Asleep, Where Do We Go? Her other current single, “All the Good Girls Go to Hell,” from the set, bumps 80-76 on the Hot 100, while keeping at its Nos. 6 and 20 bests on Alternative Songs and Pop Songs, respectively.

Dan + Shay and Justin Bieber’s “10,000 Hours” rises 10-9 on the Hot 100, after debuting at its No. 4 peak. It jumps 12-9 on Radio Songs (63.4 million, up 10%), becoming Dan + Shay’s second top 10, after “Speechless” hit No. 10 in August, and Bieber’s 13th. The collaboration also hits the Country Airplay top 10 (12-10), as it crowns the multi-metric Hot Country Songs chart for a seventh week.

Rounding out the Hot 100’s top 10, Lizzo’s former seven-week No. 1 “Truth Hurts” drops 6-10, as it rules Hot Rap Songs for a 13th week.

Just beyond the Hot 100’s top 10, Arizona Zervas’ “Roxanne” roars 27-12 as his breakthrough hit becomes his first No. 1 on Streaming Songs (29.9 million, up 44%). The track also launches at No. 30 on both Pop Songs and Rhythmic Songs.

Plus, Taylor Swift’s “Lover,” which reached No. 10, becoming her 25th Hot 100 top 10, in September, bounds 26-15, as it adds a third total, and second consecutive, week atop Digital Song Sales, with 20,000 sold in the week ending Nov. 21, after the Nov. 13 arrival of its remix with Mendes. The ballad also re-enters Streaming Songs at No. 21 (15.9 million, up 56%) and pushes 26-25 on Radio Songs (35.2 million, up 6%).

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 (Nov. 26), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

“Courage” bows at No. 1, earning the pop superstar her fifth chart-topping album.

Pop superstar Celine Dion debuts at No. 1 on the Billboard 200 albums chart with her new studio album Courage. The set, which was released on Nov. 15 via Columbia Records, earned 113,000 equivalent album units in the week ending Nov. 20 in the U.S., according to Nielsen Music.

Courage marks Dion’s fifth No. 1 album, and her first chart-topper in over 17 years. She was last at No. 1 with 2002’s A New Day Has Come.

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 Nov. 30-dated chart, where Courage bows at No. 1, will be posted in full on Billboard‘s websites on Nov. 26.

Of Courage’s total unit start of 113,000, album sales comprise 109,000, SEA units equal 3,000 and TEA units total 1,000. Courage’s first week got a boost from album sales generated by a concert ticket/album sale redemption offer with Dion’s Courage World Tour.

Courage is Dion’s first English-language studio album since 2013’s Loved Me Back to Life, which debuted and peaked at No. 2 on the Billboard 200 (dated Nov. 23, 2013).

Here are some notable achievements for Dion with the arrival of Courage:

Five No. 1s: Courage is Dion’s fifth No. 1 on the Billboard 200. She has previously hit the top with Falling Into You (No. 1 for three weeks in 1996), Let’s Talk About Love (one week in 1998), All the Way… A Decade of Song (three weeks total, two in 1999 and one in 2000) and A New Day Has Come (one week in 2002).

No. 1s in the 1990s, 2000s and 2010s: Dion has now collected No. 1 albums in each of the last three decades. She’s just the 13th act, and fourth woman, to achieve the feat. The others: Backstreet Boys, Garth Brooks, Dave Matthews Band, Janet Jackson, Jay-Z, Metallica, Nas, Pearl Jam, Bruce Springsteen, Barbra Streisand, Britney Spears and U2.

Over 17 Years Between No. 1s: Dion had to wait over 17 years for her latest No. 1 between A New Day Has Come’s lone week at No. 1 on April 13, 2002 through Courage’s premiere. That’s the longest spell between No. 1s for a woman ever on the chart. She surpasses the 16-year and nearly four-month gap tallied by Whitney Houston between the final week at No. 1 for the Houston-led soundtrack to The Bodyguard (May 29, 1993) and the debut of I Look To You (Sept. 19, 2009).

While Dion’s gap between No. 1s is extensive, it’s actually not the longest wait in 2019 for a new No. 1. On the Feb. 9-dated chart, Backstreet Boys returned to No. 1 for the first time in 18 years and nearly two months, as DNA debuted atop the chart. It was the group’s first week at No. 1 since Black & Blue spent its second and final week in charge on Dec. 16, 2000.

A solo artist waited longer than Dion for a No.1, but topped the chart a little over a year ago: Paul McCartney’s Egypt Station premiered at No. 1 on the Sept. 22, 2018-dated list. It was his first No. 1 in 36 years.

13 Top 10 Albums: Dion now has a lucky 13 top 10-charting albums on the Billboard 200. Her first title to visit the region was The Colour of My Love, which climbed to the top 10 on Feb. 25, 1994, when it rose 14-10 after debuting on the list dated Nov. 27, 1993. Colour was Dion’s third chart entry, following Unison (which peaked at No. 74 in 1991) and a self-titled album (No. 34 in 1992).

At No. 2 on the new Billboard 200, Tory Lanez collects his fourth consecutive top five effort (the entirety of his charting albums), as Chixtape 5 debuts with 83,000 equivalent album units earned (with 9,000 of that sum in album sales). Chixtape 5 follows Love Me Now? (No. 4 in 2018), Memories Don’t Die (No. 3, 2018) and I Told You (No. 4, 2016).

The hip-hop artist’s set is the most-streamed album of the week, as it earned 73,000 in SEA units, which equates to 94 million on-demand audio streams for the album’s songs in its release week.

A quartet of former No. 1s are next on the new Billboard 200. First up, Post Malone’s Hollywood’s Bleeding dips 2-3 with 69,000 equivalent album units (down 4%) while Taylor Swift’s Lover climbs 5-4 with 56,000 units (up 48%, in large part due to sales generated by the set’s release on vinyl LP). The vinyl set, which hit retail on Nov. 15, sold 18,000 copies in the week ending Nov. 20. That’s also the biggest sales week for a vinyl album by a woman in 2019, and the largest for a woman since Jan. 9, 2016, when Adele’s 25 blew through 31,000 copies over Christmas week of 2015. (The biggest sales week of 2019 for any vinyl album belongs to The Raconteurs’ Help Us Stranger, which launched with 25,000 sold on the list dated July 6.)

Luke Combs’ What You See Is What You Get falls 1-5 in its second week with 55,000 units (down 68%) and YoungBoy Never Broke Again’s AI YoungBoy 2 slips 3-6 with 44,000 units (down 13%).

Summer Walker’s Over It continues its sturdy run in the top 10, as the album spends its seventh straight week in the region, moving 4-7 with 42,000 units earned (down 12%).

DaBaby’s Kirk dips 7-8 with 37,000 units (down 14%), Billie Eilish’s When We All Fall Asleep, Where Do We Go? shifts 8-9 with 35,000 units (up 12%) and Kanye West’s Jesus Is King falls 6-10 with 30,000 units (down 21%).

Source: billboard.com

Combs’ ‘What You See Is What You Get’ breaks record for biggest streaming week for a country album.

Luke Combs blasts in at No. 1 on the Billboard 200 albums chart with his new release, What You See Is What You Get. The country album, which was released on Nov. 8 via River House/Columbia Nashville, launches with 172,000 equivalent album units earned in the U.S. in the week ending Nov. 14, according to Nielsen Music. Of that sum, 109,000 were in album sales.

What You See Is What You Get marks Combs’ first No. 1 on the all-genre Billboard 200 chart, it logs the largest week for a country album in over a year, and it’s the biggest streaming week ever for a country album.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 23-dated chart (where What You See Is What You Get debuts to No. 1) will be posted in full Nov. 19 on Billboard‘s websites.

Of What You See Is What You Get’s overall unit start of 172,000, album sales comprise 109,000, TEA units equal 6,000 and SEA units total 58,000. The latter sum translates to 74 million on-demand audio streams for the album’s 17 tracks.

What You See Is What You Get is Combs’ second full-length studio album, following 2017’s This One’s for You. The latter peaked at No. 4 and has been in the top 40 every week since June 2018.

Here are some notable achievements for Combs with the bow of What You See Is What You Get:

Biggest Week for a Country Album in Over a Year: With 172,000 equivalent album units earned, What You See Is What You Get tallies the largest week for a country album in over a year. The last larger week earned by a country set came when Carrie Underwood’s Cry Pretty bowed at No. 1 with 266,000 units on the Sept. 29, 2018-dated chart.

Second No. 1 Country Album in 2019: What You See Is What You Get is just the second country album to top the Billboard 200 in 2019, of a total of 35 No. 1 albums. Earlier in the year, Thomas Rhett’s Center Point Road logged country’s first No. 1 of 2019, when it debuted atop the list dated June 15 and spent one week in the penthouse. In all of 2018, there were 40 total No. 1s, with three country leaders: Jason Aldean​’s Rearview Town (one week, April 28), Underwood’s Cry Pretty (Sept. 29) and Kane Brown’s Experiment (one week, Nov. 24).

Combs’ Biggest Week in Units & Album Sales: What You See Is What You Get logs Combs his largest week in both total units earned, and in album sales. His previous high in units came when This One’s for You garnered 55,000 units (June 16, 2018-dated chart) after it was reissued with bonus tracks a year after its initial release. Combs’ previous high in album sales was registered in the debut week of This One’s for You, with 35,000 sold (June 24, 2017 chart). What You See Is What You Get’s debut week was bolstered by a concert ticket/album sale redemption offer with Combs’ upcoming tour, in addition to some merchandise/album bundles sold via Combs’ official website.

Record Streaming Week for a Country Album: What You See Is What You Get logged 58,000 in SEA units, which translates to 74 million on-demand audio streams for the album’s 17 tracks during the tracking week ending Nov. 14. That easily smashes the previous one-week streaming record for a country album. Previously, Gene Autry’s Rudolph the Red Nosed Reindeer and Other Christmas Classics held the record for the biggest streaming week for a country album, when it earned 43.71 million streams for its tracks on the Jan. 5-dated list — thanks heavily to Christmastime plays of the album’s holiday favorites “Here Comes Santa Claus (Right Down Santa Claus Lane)” and “Rudolph the Red-Nosed Reindeer.”

At No. 2 on the new Billboard 200, Post Malone’s Hollywood’s Bleeding falls one rung, earning 72,000 equivalent album units (down 7%). The album has spent five nonconsecutive weeks at No. 1.

YoungBoy Never Broke Again’s former leader AI YoungBoy 2 is a non-mover at No. 3 with 50,000 equivalent album units (down 18%), Summer Walker’s Over It climbs 5-4 with 48,000 units (though down 9%); and Taylor Swift’s former topper Lover rises 8-5 with just over 38,000 units (up 12%). The latter gains partly due to consumption generated by the new version of the set’s title track, now boasting Shawn Mendes.

Kanye West’s previous No. 1 Jesus Is King falls 2-6 with 38,000 equivalent album units (down 47%), DaBaby​’s former leader Kirk slips 6-7 with 32,000 units (down 11%), and Billie Eilish​’s earlier No. 1 When We All Fall Asleep, Where Do We Go? rises one spot to No. 8 with 31,000 units (down 2%). Rounding out the top 10: Young Thug’s previous No. 1 So Much Fun slips 7-9 with 30,000 units (down 15%) and Rod Wave’s Ghetto Gospel ascends 14-10 in its second chart week, with 27,000 units (up 24%). The latter gains thanks to the streaming popularity of the album’s “Heart On Ice” remix featuring Lil Durk.

Source: billboard.com