Plus, Post Malone’s ‘Circles’ moves up to No. 2.

Lewis Capaldi‘s “Someone You Loved” revisits the top spot on the Billboard Hot 100. The ballad first reached the summit two weeks ago and dipped to No. 2 last week when Selena Gomez’s “Lose You to Love Me” became her first No. 1. Gomez’s song drops to No. 5 on the latest list.

Meanwhile, Maroon 5 achieves its 15th Hot 100 top 10, over 15 years after its first, as “Memories” ascends from No. 11 to No. 9.

Let’s run down the top 10 on the Hot 100 (dated Nov. 16), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Nov. 12).

Capaldi’s breakthrough hit concurrently adds a second week at No. 1 on the Radio Songs chart, with 101 million audience impressions, essentially even week-over-week, in the week ending Nov. 10, according to Nielsen Music. It lifts 8-7 on Digital Song Sales, with 13,000 downloads sold in the week ending Nov. 7, also on par from the week before. On Streaming Songs, it revisits the top 10, rising 11-9 with 24 million U.S. streams, down 3%, in the week ending Nov. 10.

“I never thought we were writing a big song here,” Capaldi mused on Oct. 28, just after learning that he’d achieved his first Hot 100 No. 1. “We just wrote a song and, thankfully, people seemed to like it.”

Post Malone’s “Circles” hits another new Hot 100 high, rising 3-2. The song jumps 5-3 on Digital Song Sales (16,000, up 10%), holds at No. 4 on Radio Songs (83.6 million, up 5%) and climbs 9-6 on Streaming Songs (24.5 million, down less than 1%).

The singer/rapper collects his fifth top-two Hot 100 hit, after the No. 1s “Rockstar,” featuring 21 Savage (for eight weeks, 2017), “Psycho,” featuring Ty Dolla $ign (one, 2018), and “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee (one, January), and the No. 2-peaking “Wow.” (April).

As previously reported, “Circles” becomes Post Malone’s fourth No. 1 on the Pop Songs airplay chart, while parent album Hollywood’s Bleeding spends a fifth week atop the Billboard 200, marking the first set to achieve the feat in over a year.

Shawn Mendes and Camila Cabello’s former one-week Hot 100 No. 1 “Señorita” rebounds 4-3 and Lizzo’s former seven-week leader “Truth Hurts” rises 5-4, while spending an 11th week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Gomez’s “Lose” falls to No. 5 after a week topping the Hot 100. Still, it surges 41-26 on Radio Songs, up 43% to 34.6 million in reach, good for top Airplay Gainer honors on the Hot 100. It drops from the summit of both Streaming Songs (No. 3; 26.4 million, down 32%) and Digital Song Sales (16,000, down 60%).

Lizzo’s other, and second total, Hot 100 top 10, “Good as Hell,” holds at its No. 6 high. The song soared from No. 14 a week ago following the Oct. 25 premiere of its remix with Ariana Grande. (For a second straight week, the Grande remix accounts for less than half of all Hot 100 points for “Good” in the tracking week, thus, again precluding her from being listed on the chart.) The track adds a second week atop the Hot R&B Songs survey.

Chris Brown’s “No Guidance,” featuring Drake, rises 8-7 on the Hot 100, after reaching No. 5, and Lil Nas X’s “Panini” pushes 9-8, also after hitting No. 5.

Maroon 5’s “Memories” steps 11-9 on the Hot 100, lifting 3-2 on Digital Song Sales (18,000, up 11%), 13-11 on Radio Songs (57.7 million, up 9%) and 26-19 on Streaming Songs (16.6 million, up less than 1%).

The Adam Levine-led band notches its 15th Hot 100 top 10, over 15 years after its first, “This Love,” which reached No. 5 in April 2004. The sum is the best among group/duos in that span, ahead of runners-up The Black Eyed Peas, with nine. Next up in the category over that stretch: One Direction (six) and The Chainsmokers (five).

Along those lines, for a second straight week, an act extends its span of Hot 100 top 10s to over 15 years: last week, Kanye West’s “Follow God” launched at No. 7, marking his 18th top 10, after he’d first appeared in the region in January 2004. (“Follow” falls to No. 37 on the latest Hot 100; still, it leads Hot Christian Songs and Hot Gospel Songs for a second week each.)

Additionally, 12 of Maroon 5’s 15 promoted singles dating to 2011’s four-week No. 1 “Moves Like Jagger,” featuring Christina Aguilera, have hit the Hot 100’s top 10 (and the other three each hit the top 25). The band also banks its first set of consecutive top 10s since “Animals” and “Sugar” in 2014-15, as “Memories” follows the band’s longest-leading No. 1 (of four), “Girls Like You” (featuring Cardi B), which ruled for seven weeks beginning in September 2018.

Speaking of “Sugar,” “Memories” is Maroon 5’s first Hot 100 top 10 unaccompanied by another act since that single. Between “Sugar” and “Girls,” the group reached No. 6 with “Don’t Wanna Know,” featuring Kendrick Lamar, and No. 9 with “What Lovers Do,” featuring SZA, both in 2017.

Capping the Hot 100’s top 10, Dan + Shay and Justin Bieber’s “10,000 Hours” returns to the bracket (12-10), after debuting at its No. 4 high. The collaboration crowns Hot Country Songs for a fifth frame.

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

Source: billboard.com

Plus, new top 10s for Lizzo & Kanye West.

Over 10 years after first appearing on the Billboard Hot 100, Selena Gomez earns her first No. 1 on the chart with “Lose You to Love Me.” The ballad vaults from No. 15 to the summit following its first full week of data tracking.

Plus, Lizzo lands her second Hot 100 top 10 as “Good as Hell” bounds from No. 14 to No. 6, after the arrival of its remix with Ariana Grande, and Kanye West debuts at No. 7 with “Follow God,” from his new album Jesus Is King, which launches at No. 1 on the Billboard 200.

Let’s run down a busy top 10 on the Hot 100 (dated Nov. 9), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Nov. 5).

Here’s a deeper look at Gomez’s winner “Lose,” the 1,092nd No. 1 in the Hot 100’s six-decade history.

Streams, sales & airplay: “Lose” blasts 20-1 on Streaming Songs, with 38.8 million U.S. streams in the week ending Oct. 31, according to Nielsen Music, good for the Hot 100’s top Streaming Gainer trophy. It holds atop Digital Song Sales with 39,000 sold in the same span.

On the Radio Songs chart, it debuts at No. 41 with 24.2 million audience impressions in the week ending Nov. 3.

The song was released Wednesday, Oct. 23 and is expected to serve as the first taste of Gomez’s upcoming album, her first since Revival in 2015.

Gomez’s first No. 1: Gomez achieves her first Hot 100 No. 1 after previously peaking as high as No. 5 with both “Good For You,” featuring A$AP Rocky, in 2015 and “Same Old Love” in 2016. (She adds her eighth top 10 and first since “It Ain’t Me,” with Kygo, reached No. 10 in May 2017.)

With Gomez having first appeared on the Hot 100 dated Jan. 10, 2009 (at No. 99 with the eventual No. 58-peaking “Tell Me Something I Don’t Know”), she reaches No. 1 at last, 10 years and 10 months after her first entry. She completes the longest wait from a first visit to a first No. 1 (as a lead artist) since Daddy Yankee, who took 12 years and nine months from his first charted title to his first leader, “Despacito,” with Luis Fonsi and featuring Justin Bieber, in May 2017.

Among women, Gomez ends the longest wait for a first Hot 100 No. 1 in over 30 years, since pop icon Bette Midler needed 16 years, six months and two weeks from her first appearance in 1972 to her first No. 1, “Wind Beneath My Wings,” in June 1989.

(Among all artists, Santana holds the mark for most time between a first Hot 100 visit and first No. 1: two days shy of 30 years until “Smooth,” featuring Rob Thomas, reached the top spot in October 1999.)

Reigning producers & writers: “Lose” was produced by the team of Mattman & Robin (Mattias Larsson and Robin Frediksson), who wrote it with Gomez, Julia Michaels and Justin Tranter.

Mattman & Robin earn their first Hot 100 No. 1 as producers, besting their prior No. 4 high as producers of Imagine Dragons’ “Believer” in 2017. (They also produced Gomez’s “Hands to Myself,” which hit No. 7 in 2016.)

Gomez scores her first Hot 100 No. 1 as a writer, topping her previous No. 5 best as a co-writer of “Good for You.” Mattman & Robin also earn their first No. 1 writing credit, again surpassing their prior No. 4 top rank as writers via “Believer.”

Michaels and Tranter each tally their second Hot 100 leader as writers, having previously reigned as co-authors of Bieber’s “Sorry, which ruled for three weeks in 2016.

Come & get it: “Lose” makes the third surge from No. 15 or lower to No. 1 on the Hot 100 this year. It matches the 15-1 flight of Lil Nas X ‘s “Old Town Road” (April 13), while Lady Gaga and Bradley Cooper’s “Shallow” soared 21-1 (March 9) following the 91st Academy Awards, when the pair performed the ballad and it won for best original song.

Interscope in the lead: With “Lose,” Interscope Records notches its third Hot 100 No. 1 of 2019, after “Shallow” and Billie Eilish’s “Bad Guy” (Aug. 24).

Interscope boasts its first yearly hat trick since three songs ascended to No. 1 in 2012: LMFAO’s “Sexy and I Know It,” Carly Rae Jepsen’s “Call Me Maybe” and Maroon 5’s “One More Night.”

12 to 1: “Lose” is the 12th song to rise to No. 1 on the Hot 100 in 2019, marking the greatest total since 12 songs hit No. 1 in all of 2012. With the latest chart dated Nov. 9, this year marks the fastest accumulation of 12 leaders in a year since 2011, when the 12th No. 1 (Adele’s “Someone Like You”) reached the top that Sept. 17.

As noted last week, the relatively rapid turnover atop the Hot 100 in 2019 is especially notable given that “Old Town Road” blocked all challengers for a record 19 weeks (April 13-Aug. 17).

‘Look,’ more Selena: After releasing “Lose” on Oct. 23, Gomez premiered a second new song, “Look at Her Now.,” on Oct. 24. Following its first full tracking week, the latter debuts at No. 27 on the Hot 100, as it jumps 12-6 on Digital Song Sales (14,000) and enters Streaming Songs at No. 18 (18.8 million).

(Of the two tracks, only “Lose” is receiving official concentrated promotion at radio.)

Lewis Capaldi’s “Someone You Loved” dips to No. 2 on the Hot 100, a week after his debut hit reached No. 1. Despite the drop, the single becomes his first No. 1 on Radio Songs (101.2 million, down 4%), while descending 2-8 on Digital Song Sales (13,000, down 47%) and 8-11 on Streaming Songs (24.8 million, down 2%).

Post Malone’s “Circles” hits a new Hot 100 high, rising 4-3; Shawn Mendes and Camila Cabello’s former No. 1 (Aug. 31) “Señorita” slips 3-4; and Lizzo’s former seven-week leader “Truth Hurts” tumbles 2-5, although it spends a 10th week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Lizzo concurrently adds her second Hot 100 top 10, as “Good as Hell” flies 14-6. Following the Oct. 25 premiere of its remix with Ariana Grande, “Good” charges 8-2 on Digital Song Sales (29,000, up 110%) and 30-21 on Streaming Songs (17.3 million, up 24%), while entering the Radio Songs top 10 (12-9; 67 million, up 28%), as the song wins the Hot 100’s top Sales and Airplay Gainer awards.

Notably, both of Lizzo’s Hot 100 top 10s took scenic routes to the region. “Truth” was originally released in September 2017, but received renewed attention thanks to a synch in the Netflix film Someone Great, which premiered this April. The song was subsequently added to the deluxe edition of her 2019 LP Cuz I Love You, which reached No. 4 on the Billboard 200 in September. (The set’s lead single, “Juice,” reached No. 82 on the Hot 100, also in September, after Atlantic Records had pivoted to promoting “Truth.”)

“Good” dates back even further, having first been released in March 2016 from Lizzo’s debut EP, Coconut Oil. Concurrent with the reemergence of “Truth,” and her buzzy performance of the two songs in a medley on the 2019 MTV Music Video Awards (Aug. 26), Atlantic began working “Good” as her newest radio single.

“Good” additionally takes over atop the Hot R&B Songs chart.

Kanye West scores the week’s other new Hot 100 top 10, as “Follow God” launches at No. 7 on the Hot 100. The track arrives at No. 2 on Streaming Songs with 34 million first-week streams and No. 13 on Digital Song Sales (8,000).

West adds his 18th Hot 100 top 10 (and eighth to debut in the tier) and first since his Lil Pump collab “I Love It,” which bowed and peaked at No. 6 in September 2018.

As previously reported, West’s new LP Jesus Is King arrives as his ninth No. 1 on the Billboard 200 and his first leader on both Top Christian Albums and Top Gospel Albums.

Chris Brown’s “No Guidance,” featuring Drake, backtracks from its No. 5 Hot 100 peak to No. 8 and Lil Nas X’s “Panini” drops 6-9, after hitting No. 5.

Capping the Hot 100’s top 10, Eilish’s “Bad Guy” descends 9-10, while becoming just the ninth entry in the chart’s history to post at least 30 weeks in the top 10.

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

Source: billboard.com

West matches Eminem for the most consecutive No. 1 debuts on the chart.

Kanye West returns to a familiar spot on the Billboard 200 albums chart, as his latest release, Jesus Is King, debuts at No. 1. It’s his record-tying ninth consecutive debut at No. 1, matching Eminem’s still-active streak for the longest in the chart’s history.

Jesus Is King was released on Oct. 25 via G.O.O.D. Music/Def Jam Recordings and earned 264,000 equivalent album units in the U.S. in the week ending Oct. 31, according to Nielsen Music. Of that sum, 109,000 were in album sales, while the rest was powered largely by streaming activity.

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. 9-dated chart (where Jesus Is King bows to No. 1) will be posted in full on Billboard‘s websites on Nov. 5.

Of Jesus Is King’s total unit start of 264,000, album sales comprise 109,000, TEA units equal 3,000 and SEA units total 151,000. The latter sum translates to 196.9 million on-demand audio streams for the album’s 11 tracks.

Here are some notable feats West achieves with the arrival of Jesus Is King:

West’s Record-Tying Ninth Consecutive No. 1 Debut: Jesus Is King continues a remarkable streak on the Billboard 200 for West. The set marks his record-tying ninth straight album to debut at No. 1; the entirety of his charting efforts from 2005 through 2019 have opened in the top slot. His only album to miss No. 1 was his debut effort, 2004’s The College Dropout, which debuted and peaked at No. 2.

West ties Eminem for the most consecutive No. 1 debuts, as the latter has entered at No. 1 with his last nine releases — from 2000’s The Marshall Mathers LP through 2018’s Kamikaze. Like West, Eminem has also only missed the No. 1 position once, also with his debut charting effort, 1999’s The Slim Shady LP, which debuted and peaked at No. 2.

Among all acts, Jay-Z has the most debuts at No. 1 on the Billboard 200, with 14 — but they were not consecutive.

Nine No. 1s in a Row: West and Eminem are also now tied for the most consecutive No. 1s on the Billboard 200. They are both ahead of the Beatles, which saw all eight of their charting efforts between 1965’s Beatles VI and 1968’s self-titled album (White Album) reach No. 1.

Unlike West and Eminem, none of those albums from the Beatles debuted at No. 1 (per common practice before the advent of electronically tracked music activity by Nielsen Music in 1991). All eight of them climbed to the top, after debuting at lower positions.

Sixth-Most No. 1s on the Billboard 200: With a ninth No. 1 on the Billboard 200, West ties five other acts for the sixth-most No. 1s in the history of the chart (which dates back to 1956), as he now stands alongside Garth Brooks, Drake, Eminem, Madonna and the Rolling Stones. Ahead of all of them: the Beatles with a record 19 No. 1s; Jay-Z (14); Bruce Springsteen and Barbra Streisand (11 each); and Elvis Presley (10).

Sixth No. 1 of the Decade: Jesus Is King marks West’s sixth No. 1 in the 2010s, matching the number earned by both Future and Justin Bieber since 2010. Only Drake, with nine No. 1s this decade, has more. (All nine of Drake’s No. 1s on the chart have come since 2010, starting with Thank Me Later.)

Fifth-Biggest Streaming Week of 2019: Jesus Is King’s first-week SEA units totaled 151,000, which equates to 196.9 million on-demand audio streams for the 11 tracks on the album. That’s the fifth-largest streaming week for any album in 2019, behind only the debut frames of Post Malone’s Hollywood’s Bleeding (365.4 million), Ariana Grande’s Thank U, Next (307.1 million), Taylor Swift’s Lover (226.1 million) and the second week of Bleeding (220.9 million).

West’s Biggest Streaming Week Ever: With Jesus Is King launching with 196.9 million on-demand audio streams for its tracks, it surpasses West’s previous biggest streaming week, logged when Ye bowed with 180.1 million in 2018. (Notably, Ye only had seven tracks, versus King’s 11. So, Ye had an average of 25.7 million streams per track, while King had 17.9 million per track.)

Second-Largest Sales Week of 2019 for an R&B/Hip-Hip Album: With 109,000 copies sold, Jesus Is King collects the second-biggest sales week of 2019 for an R&B/hip-hop album. King is second only to the debut frame of Post Malone’s Hollywood’s Bleeding, with 200,000 sold. King’s first week was bolstered by an array of merchandise/album bundles sold via West’s official webstore, as well as albums sold bundled with a pre-sale code for early access to upcoming West events (including a trio at the Forum in Los Angeles, a pair of recent Sunday Service programs and an album launch/listening event).

At No. 2 on the new Billboard 200, Post Malone’s Hollywood’s Bleeding falls one spot with 81,000 equivalent album units (down 12%).

English singer and multi-instrumentalist Rex Orange County (real name: Alex O’Connor) bows at No. 3 with his major-label debut, Pony. The set, his first release for RCA Records after two independently distributed albums, starts with 70,000 equivalent album units. Of that sum, 56,000 were in album sales, boosted by a concert ticket/album sale redemption offer with his upcoming U.S. tour and an array of merchandise/album bundles sold via his webstore.

YoungBoy Never Broke Again’s former No. 1 AI YoungBoy 2 falls 2-4 on the Billboard 200, with 64,000 equivalent album units (down 20%), while Summer Walker’s Over It descends 3-5 with 60,000 units (down 14%). A trio of former leaders are up next, as DaBaby’s Kirk dips 4-6 with 40,000 units (down 18%), Taylor Swift’s Lover drops 5-7 with 35,000 units (down 12%) and Billie Eilish’s When We All Fall Asleep, Where Do We Go? retreats 6-8 with 32,000 units (down 1%).

Country band Old Dominion nabs its second top 10 on the Billboard 200 chart, as the quintet’s new self-titled set arrives at No. 9 with 31,000 equivalent album units earned (with 19,000 of that sum in album sales). The group previously visited the top 10 with 2017’s Happy Endings, which debuted and peaked at No. 7 (starting with 41,000 units).

Closing out the new Billboard 200’s top 10 is Young Thug’s former leader So Much Fun, which falls 7-10 with 28,000 equivalent album units (down 10%).

Source: billboard.com

The song reigns in the U.S. after ruling multiple charts worldwide.

A sad song leads to joyous news for Lewis Capaldi, as his breakthrough ballad “Someone You Loved” rises to No. 1 on the Billboard Hot 100.

The track by the 23-year-old Scottish singer-songwriter, released on Vertigo/Capitol Records, previously ruled multiple charts globally, including the Official UK Singles survey, for seven weeks beginning in March.

Let’s run down the top 10 of the Hot 100 (dated Nov. 2), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 29).

Here’s a deeper look at the 1,091st No. 1 in the Hot 100’s six-decade history.

Airplay, sales & streams: “Someone” rises 3-2 on the Radio Songs chart, despite a 2% dip to 105.6 million audience impressions in the week ending Oct. 27, according to Nielsen Music. It pushes 5-2 on Digital Song Sales with a 41% surge to 24,000 sold in the week ending Oct. 24, good for the Hot 100’s top Sales Gainer award. On Streaming Songs, the track ascends 11-8 (reaching the top 10 for the first time), up 2% to 25.2 million U.S. streams, in the week ending Oct. 24.

Adding to the song’s profile in the tracking week, it played during a routine in the Oct. 21 episode of ABC’s Dancing With the Stars.

Notably, “Someone” leads the Hot 100 while not topping any of the chart’s three component tallies, a distinction that last occurred with Shawn Mendes and Camila Cabello’s “Señorita” (Aug. 31), a week after Billie Eilish’s “Bad Guy” did the same (Aug. 24).

24 weeks to No. 1: “Someone” reaches the Hot 100’s summit in its 24th week on the chart, completing the fifth-lengthiest climb to No. 1 all-time. Among acts’ first Hot 100 entries, it wraps the second-longest trip to the top, after Vertical Horizon’s “Everything You Want” in 2000.

Here’s a recap:

Weeks to No. 1, Title, Artist, Date Reached No. 1
31, “Amazed,” Lonestar, March 4, 2000
30, “All of Me,” John Legend, May 17, 2014
27, “With Arms Wide Open,” Creed, Nov. 11, 2000
26, “Everything You Want,” Vertical Horizon, July 15, 2000
24, “Someone You Loved,” Lewis Capaldi, Nov. 2, 2019

“Someone” has steadily scaled the Hot 100, as it debuted on May 25, reached the top 40 on July 20 and entered the top 10 on Sept. 21.

Capitol conquers: While Capitol Records last led the Hot 100 as recently as January, for two weeks via Halsey’s “Without Me,” Capaldi is the first artist on the label to take a first Hot 100 entry to No. 1 in over 11 years, since Katy Perry’s “I Kissed a Girl” ruled for seven weeks starting in July 2008.

TMS on top: Capaldi co-wrote “Someone” with Sam Elliot “ROMANS” Roman, Tom Barnes, Pete Kelleher and Ben Kohn. Billed as TMS, Barns, Kelleher and Kohn produced the track. While all the talents enjoy their first No. 1 on the Hot 100, the TMS trio previously reached the top 10 as co-writers of G-Eazy and Bebe Rexha’s “Me, Myself & I,” which hit No. 7 in March 2016.

11 to 1: “Someone” is the 11th song to ascend to No. 1 on the Hot 100 in 2019, matching the total of all of 2018. With the latest chart dated Nov. 2, this year marks the fastest accumulation of 11 leaders in a year since 2011, when the 11th No. 1 reached the summit that Sept. 10.

The relatively rapid turnover atop the Hot 100 in 2019 is especially notable given that Lil Nas X blocked all competitors for a record 19 weeks (April 13-Aug. 17) with “Old Town Road,” featuring Billy Ray Cyrus.

Lizzo’s “Truth Hurts” drops to No. 2 on the Hot 100 after seven weeks at No. 1, as it remains tied with Iggy Azalea’s 2014 hit “Fancy,” featuring Charli XCX, for the longest reign for a rap song by a woman. “Truth” tops Radio Songs for a sixth week (111.9 million, down 3%), while sliding 2-5 on Digital Song Sales (17,000 sold, down 15%) and lifting 12-11 on Streaming Songs (21.7 million, down 7%).

“Truth” additionally tallies a ninth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Mendes and Cabello’s “Señorita” retreats 2-3 on the Hot 100, while two other tracks keep at their highpoints in the top five: Post Malone’s “Circles” (No. 4) and Chris Brown’s “No Guidance,” featuring Drake (No. 5), as the latter leads Hot R&B Songs for a ninth week.

Lil Nas X’s “Panini” pushes 9-6 on the Hot 100, after hitting No. 5, and Travis Scott’s “Highest in the Room” descends 6-7, after launching at No. 1 on the Oct. 19 chart, and leads Streaming Songs for a third week (33.8 million, down 9%).

Lil Tecca’s “Ran$om” backtracks 7-8 on the Hot 100; Eilish’s “Bad Guy” falls 8-9; and Dan + Shay and Justin Bieber’s “10,000 Hours” returns to the region (11-10), after debuting two weeks ago at No. 4, as it commands Hot Country Songs for a third week.

Just beyond the Hot 100’s top 10, Maroon 5’s “Memories” bumps 12-11, Ed Sheeran’s “Beautiful People,” featuring Khalid, rises 14-12 and Lizzo’s “Good as Hell” surges 20-14 and claims top Airplay Gainer honors for a second week (52.4 million in radio reach, up 22%), as all three songs hit new highs.

Plus, Selena Gomez blasts onto the Hot 100 at No. 15 with “Lose You to Love Me.” Released last Wednesday (Oct. 23), the ballad soars in at No. 1 on Digital Song Sales with 36,000 sold and No. 20 on Streaming Songs with 15.3 million streams, while drawing 14.1 million in radio audience.

The expected first taste of Gomez’s first album since Revival in 2015 marks her second-best Hot 100 debut, among 28 career visits; “Good for You” opened at No. 9 (and reached No. 5) in 2015.

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 (Oct. 29), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Gucci Mane’s “Woptober II” debuts in top 10.

Post Malone’s Hollywood’s Bleeding becomes the first album released in 2019 to score four weeks at No. 1 on the Billboard 200 chart, as the set climbs 2-1 on the list. The album earned 93,000 equivalent album units in the U.S. in the week ending Oct. 24 (down 6%), according to Nielsen Music.

Hollywood’s Bleeding spent its first three weeks at No. 1 (charts dated Sept. 21 through Oct. 5). It returns to No. 1 on the latest tally, dated Nov. 2.

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. 2-dated chart, where Hollywood’s Bleeding returns to No. 1, will be posted in full on Billboard‘s websites on Oct. 29.

Hollywood’s Bleeding is the first album to spend four weeks at No. 1 on the Billboard 200 chart since Lady Gaga and Bradley Cooper’s 2018 soundtrack to A Star Is Born racked up its fourth and final nonconsecutive week at No. 1 on the list dated March 9, 2019. (Star spent its first three weeks at No. 1, between Oct. 20-Nov. 3, 2018.)

Hollywood’s Bleeding is also now solely the Post Malone album with the most weeks at No. 1, as it surpasses the three weeks notched by his previous release, 2018’s beerbongs & bentleys.

At No. 2 on the new Billboard 200, YoungBoy Never Broke Again’s AI YoungBoy 2 slips down one spot after debuting at No. 1. In its second week, it earned 80,000 equivalent album units (down 27%).

Summer Walker’s Over It stays at No. 3 with 69,000 units (down 12%), DaBaby’s former No. 1 Kirk is a non-mover at No. 4 with 49,000 units (down 12%), and Taylor Swift’s former leader Lover rises 6-5 with 39,000 units (though down 10%).

A pair of previous chart-toppers are next on the new list, as Billie Eilish’s When We All Fall Asleep, Where Do We Go? climbs 8-6 with 32,000 units (down 6%) and Young Thug’s So Much Fun bounces 10-7 with just over 31,000 units (down 3%).

Lil Tjay’s True 2 Myself dips 5-8 in its second week on the list, earning 31,000 units (down 30%).

Gucci Mane collects his seventh top 10 album on the Billboard 200, as Woptober II debuts at No. 9 (nearly 31,000 equivalent album units earned, with 2,000 of that sum in album sales). The rapper earned his first top 10 back in 2009 with The State Vs. Radric Davis, which peaked at No. 10. Woptober II is Gucci Mane’s second top 10 of 2019, following Delusions of Grandeur, which debuted and peaked at No. 7 on the July 6-dated list, starting with 32,000 units (3,000 in album sales).

Rounding out the new top 10 is Chris Brown’s former No. 1 Indigo, which falls 9-10 with 30,000 equivalent album units earned (down 9%).

Source: billboard.com

Plus, Juice WRLD & YoungBoy Never Broke Again’s “Bandit” hits the top 10.

Lizzo scores a historic seventh week atop the Billboard Hot 100 with “Truth Hurts.” The song ties Iggy Azalea’s “Fancy,” featuring Charli XCX, for the longest rule ever for a rap song by a female artist.

“Truth,” released on Nice Life/Atlantic Records, first topped the Hot 100 dated Sept. 7 and spent its first six weeks at No. 1 consecutively before dropping to No. 2 a week ago when Travis Scott’s “Highest in the Room” blasted in at the summit.

Plus, Juice WRLD and YoungBoy Never Broke Again‘s “Bandit” breaks into the Hot 100’s top 10, rising from No. 11 to No. 10 in its second week on the chart, marking the former’s second top 10 on the tally and the latter’s first.

Let’s run down the top 10 of the Hot 100 (dated Oct. 26), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 22).

As “Truth” ties for Hot 100 history, here’s an updated look at all the rap songs by women that have led the chart, listed in order by longest runs at No. 1:

7 weeks, Lizzo, “Truth Hurts,” 2019
7 weeks, Iggy Azalea, “Fancy,” feat. Charli XCX, 2014
3 weeks, Cardi B, “Bodak Yellow (Money Moves),” 2017
2 weeks, Lauryn Hill, “Doo Wop (That Thing),” 1998
1 week, Cardi B, “I Like It,” with Bad Bunny & J Balvin, 2018
1 week, Shawnna, “Stand Up” (Ludacris feat. Shawnna), 2003

“Truth” tops the Radio Songs chart for a fifth week with 115.3 million audience impressions, down 4%, in the week ending Oct. 20, according to Nielsen Music; rebounds 3-2 on Digital Song Sales (20,000 sold, down 29%, in the week ending Oct. 17); and holds at No. 12 on Streaming Songs (23.4 million U.S. streams, down 9%, in the week ending Oct. 17).

“Truth” additionally tallies an eighth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Meanwhile, follow-up single “Good as Hell” rises 24-20 on the Hot 100, winning top Airplay Gainer honors, as it bounds 28-16 on Radio Songs (43.1 million, up 35%).

Shawn Mendes and Camila Cabello’s “Señorita” rebounds 3-2 on the Hot 100, after commanding the Aug. 31-dated chart, and Lewis Capaldi’s “Someone You Loved” returns to its No. 3 high from No. 5. As previously reported, Capaldi’s ballad also takes over atop the Pop Songs radio airplay chart.

Elsewhere in the Hot 100’s top five, two other tracks revisit their highpoints: Post Malone’s “Circles” (6-4) and Chris Brown’s “No Guidance,” featuring Drake (7-5), as the latter leads Hot R&B Songs for an eighth week.

Scott’s “Highest in the Room” slides to No. 6 on the Hot 100 after soaring in at No. 1, marking the steepest drop from the top since two other leaders each tumbled 1-6 in March: Jonas Brothers’ “Sucker” (also in its second week; March 23) and Lady Gaga and Bradley Cooper’s ‘”Shallow” (March 16).

Still, “Room” leads Streaming Songs for a second week, with 37.2 million streams, down 37%. It surges by 61% to 11.1 million in radio reach, while plummeting from No. 2 to No. 20 on Digital Song Sales (7,000, down 87%); contributing to its sales drop-off, the song was available in its first week-only in a variety of physical formats (CD, cassette and vinyl; consumers also received a digital version when ordering physical copies).

Lil Tecca’s “Ran$om” rises 8-7 on the Hot 100, after reaching No. 4; Billie Eilish’s “Bad Guy,” which ruled the Aug. 24 chart, lifts 9-8; and Lil Nas X’s “Panini” climbs 10-9, after previously hitting No. 5.

Rounding out the Hot 100’s top 10, Juice WRLD and YoungBoy Never Broke Again’s “Bandit” enters the tier, rising from No. 11 in its second week on the survey, despite dropping by 3% to 37.5 million U.S. streams and 49% to 3,000 sold.

Juice WRLD adds his second Hot 100 top 10, after his breakthrough hit “Lucid Dreams” rose to No. 2 in October 2018. YoungBoy Never Broke Again makes his first trip to the top 10, in the same week that his new LP AI YoungBoy 2 arrives as his first No. 1 album on the Billboard 200. (“Bandit” is not on the set and is, as of now, a stand-alone single.)

Just beyond the Hot 100’s top 10, Dan + Shay and Justin Bieber’s “10,000 Hours” falls to No. 11 after debuting at No. 4 a week ago — although it charges onto Radio Songs at No. 28 (30.5 million, up 56%), while commanding Hot Country Songs for a second week.

Plus, Maroon 5’s “Memories” jumps 20-12 on the Hot 100, hitting a new high, as it posts a second week atop Digital Song Sales (21,000, up 3%), while Harry Styles scores the Hot 100’s top debut, as new single “Lights Up” launches at No. 17, powered by its starts on Digital Song Sales (No. 3; 20,000) and Streaming Songs (No. 13; 21.5 million). Ahead of his second solo album, the One Direction star earns his third solo Hot 100 entry and second-highest-charting, after “Sign of the Times” (No. 4, 2017).

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

Source: billboard.com

Plus: Lil Tjay and Wale debut in top 10.

Rapper YoungBoy Never Broke Again scores his first No. 1 album on the Billboard 200 chart, as AI YoungBoy 2 debuts atop the list.

The set, which was released on Oct. 11 via Never Broke Again/Atlantic Records, starts with 110,000 equivalent album units earned in the U.S. in the week ending Oct. 17, according to Nielsen Music. Of that sum, just 3,000 were in album sales, while the rest was overwhelmingly powered by streaming activity.

Elsewhere in the top 10, rappers Lil Tjay and Wale also arrive, as the former’s True 2 Myself starts at No. 5, while the latter’s Wow… That’s Crazy launches at No. 7.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 26-dated chart, where AI YoungBoy 2 bows at No. 1, will be posted in full on Billboard‘s websites on Oct. 22.

The new 18-track album starts with 110,000 equivalent album units earned, and of that figure, only 3,000 were from album sales. 1,000 were in TEA units, while 106,000 were in SEA units. The latter figure equates to 144.7 million on-demand audio streams earned for the album’s tracks in its first week.

AI YoungBoy 2 is the 12th chart entry on the Billboard 200 for the Baton Rouge, La. artist, who has visited the top 10 once before, with 2018’s Until Death Call My Name (No. 7, May 12, 2018). In 2018 alone, eight YoungBoy projects bowed on the chart. The new album is the sequel to 2017’s AI YoungBoy, which debuted and peaked at No. 24 (Aug. 26, 2017).

AI YoungBoy 2 is the 20-year-old rapper’s first album after being released from prison in August. (The rapper turned 20 today, Oct. 20.) The set was preceded by the song “Self Control,” which reached the top 30 of the Hot R&B/Hip-Hop Songs chart.

At No. 2, Post Malone’s former No. 1 Hollywood’s Bleeding climbs one rung with 99,000 equivalent album units (though down 8%). Summer Walker’s Over It slips 2-3 in its second week with 78,000 units (down 42%) and DaBaby’s former leader Kirk is steady at No. 4 with 55,000 units (down 26%).

Lil Tjay’s debut album True 2 Myself bows at No. 5 with 45,000 equivalent album units earned (1,000 in album sales). The 17-track project features the top 30-charting Hot R&B/Hip-Hop Songs hit “F.N.” The 18-year-old first made waves on Billboard’s charts thanks to his featured turn on Polo G’s “Pop Out” earlier this year. The track reached No. 7 on Hot R&B/Hip-Hop Songs (June 22).

Taylor Swift’s former No. 1 Lover falls one slot to No. 6 in its eighth week on the chart, with 44,000 equivalent album units earned (down 13%).

Wale’s sixth studio album, Wow… That’s Crazy, launches at No. 7 on the Billboard 200 with 38,000 equivalent album units (5,000 in album sales). Wow marks Wale’s fourth top 10 effort, following The Album About Nothing (No. 1 in 2015), The Gifted (No. 1, 2013) and Ambition (No. 2, 2011).

Rounding out the new top 10 are a trio of former No. 1s: Billie Eilish’s When We Fall Asleep, Where Do We All Go? (7-8 with 34,000 equivalent album units; down 10%), Chris Brown’s Indigo (6-9 with 33,000 units; down 16%) and Young Thug’s So Much Fun (holding at No. 10 with nearly 33,000 units; down 8%).

Source: billboard.com

Scott scores his second leader and first to start at the summit.

Travis Scott blasts in atop the Billboard Hot 100 as “Highest in the Room,” true to its title, launches at No. 1. The rapper earns his second leader and first to debut in the top spot.

Plus, Dan + Shay and Justin Bieber‘s “10,000 Hours” soars onto the Hot 100 at No. 4.

Let’s run down the top 10 of the Hot 100 (dated Oct. 19), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 15).

“Highest,” released on Cactus Jack/Grand Hustle/Epic Records on Oct. 4 (after it was initially teased in a Kylie Jenner Kybrow cosmetics ad in April), and the 1,090th leader in the Hot 100’s 61-year history, starts at No. 1 the Streaming Songs chart with 59 million U.S. streams in the week ending Oct. 10, according to Nielsen Music.

Available digitally and in a variety of physical (CD, cassette and vinyl) formats in its first week, the track bows at No. 2 on Digital Song Sales with 51,000 sold in the week ending Oct. 10. It ranks below the Radio Songs survey with 6.9 million audience impressions in the week ending Oct. 13.

The song is, as of now, a stand-alone single. “I’m taking my time to come up with the next album,” Scott said on Oct. 3. “I’m always down to drop music and serve some packs to the fans. It’s time for the fans to eat.”

Scott’s second No. 1: Scott adds his second Hot 100 No. 1, after “Sicko Mode” led the Dec. 8, 2018-dated chart. That track debuted at No. 4 and remained in the top 10 continuously before leading at last in its 17th week.

35th No. 1 debut all-time: “Highest” is the 35th single to start atop the Hot 100 and the first since Jonas Brothers’ “Sucker” in March. Epic enjoys its third No. 1 arrival, after DJ Khaled’s “I’m the One,” featuring Bieber, Quavo, Chance the Rapper and Lil Wayne (released on both Def Jam and Epic), in 2017 and Michael Jackson’s “You Are Not Alone,” the first song to debut at No. 1, in 1995.

R&B/Hip-Hop & Rap ruler: “Highest” also debuts atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100). Scott earns his third leader on each list, after “Sicko Mode” (10 weeks at No. 1 on each chart, beginning last November), which dethroned Kodak Black’s “Zeze,” featuring Scott and Offset, after a week at No. 1.

‘Highest’ love: Scott notches the fifth Hot 100 No. 1 with a form of the word “high” in its title, and now songs with “high,” “higher” and “highest” have all taken the top spot. It follows: “Ain’t No Mountain High Enough,” by Diana Ross (three weeks at No. 1, 1970); “The Tide Is High,” by Blondie (one week, 1981); “Higher Love,” by Steve Winwood (one, 1986); and “You’re Makin’ Me High”/”Let It Flow,” by Toni Braxton (one, 1996).

‘Room’ at the top: Meanwhile, the word “room” inhabits the Hot 100’s penthouse for the first time. It bests the prior such highest-charting hit: Brandy’s “Sittin’ Up in My Room,” which rose to No. 2 in 1996.

Lizzo’s “Truth Hurts” drops to No. 2 on the Hot 100 after six weeks at No. 1. Still, it rules Radio Songs for a fourth frame (120.4 million, down 1%). It descends to No. 3 on Digital Song Sales (28,000, down 8%), after five weeks at No. 1, and 6-12 on Streaming Songs (25.8 million, down 7%).

Shawn Mendes and Camila Cabello’s “Señorita” slips 2-3 on the Hot 100, after commanding the Aug. 31-dated chart.

Dan + Shay and Justin Bieber’s “10,000 Hours” roars onto the Hot 100 at No. 4, as it opens atop Digital Song Sales at No. 1 with 53,000 sold in the week ending Oct. 10, following its Oct. 4 premiere. Dan + Shay notch their first No. 1 on the sales chart, while Bieber banks his 10th, tying Drake and Eminem for the most among males. Among all acts, Taylor Swift leads with 18 Digital Song Sales No. 1s, followed by Rihanna (14) and Katy Perry (11).

“Hours” also enters Streaming Songs at No. 3 with 33.3 million U.S. streams, while nearing Radio Songs with 19.6 million in all-format audience. Being promoted to country and pop radio, the track ranks at No. 25 in its second week on the Country Airplay chart, while debuting at No. 26 on Adult Pop Songs and No. 29 on Pop Songs.

Dan + Shay post their highest Hot 100 rank, after the pair reached a previous No. 21 high with “Tequila” in July 2018. Bieber adds his 16th Hot 100 top 10 and first since “I Don’t Care” (with Ed Sheeran), which debuted and peaked at No. 2 in May.

“Hours” concurrently blasts from 40-1 on the multi-metric Hot Country Songs chart, where Dan + Shay add their third No. 1 and Bieber earns his first. Along with five No. 1s on the Hot 100, Bieber also now boasts leaders on six other charts that are based on the same methodology: Hot Country Songs, Hot Dance/Electronic Songs, Hot Latin Songs, Hot R&B/Hip-Hop Songs, Hot Rap Songs and Hot R&B Songs, making him the only act to have topped all seven tallies.

(Dan + Shay are co-managed by Jason Owen and Bieber’s manager, Scooter Braun. Shay and Myers attended the wedding celebration for Bieber and wife Hailey Baldwin on Sept. 30.)

Lewis Capaldi’s “Someone You Loved” dips to No. 5 on the Hot 100 from its No. 3 high; Post Malone’s “Circles” rises 8-6, after reaching No. 4; and Chris Brown’s “No Guidance,” featuring Drake, falls to No. 7 from its No. 5 peak, while leading Hot R&B Songs for a seventh week.

Rounding out the Hot 100’s top 10, Lil Tecca’s “Ran$om” tumbles to No. 8 from its No. 4 peak; Billie Eilish’s “Bad Guy,” which ruled the Aug. 24 Hot 100, drops 6-9; and Lil Nas X’s “Panini” backtracks 8-10 after hitting No. 5.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Oct. 15), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Summer Walker and Brantley Gilbert debut in the top 10.

K-pop supergroup SuperM debuts at No. 1 on the Billboard 200 albums chart, as the act’s first effort, SuperM: The 1st Mini Album, enters atop the tally. The set, which was released via SM/Capitol Records on Oct. 4, launches with 168,000 equivalent album units earned in the U.S. in the week ending Oct. 10, according to Nielsen Music. Of that sum, 164,000 were in album sales.

Elsewhere in the top 10, R&B singer Summer Walker bows at No. 2 with her debut studio album, Over It, and country singer Brantley Gilbert starts at No. 9 with Fire & Brimstone.

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 Oct. 19-dated chart (where SuperM debuts at No. 1) will be posted in full on Billboard‘s websites on Oct. 15.

SuperM’s existence was announced on Aug. 7, and the act comprises seven members from established pop acts that have had some success already on Billboard’s various charts: one from SHINee, and two each from EXO, NCT 127 and WayV. None of those groups have claimed a top 10 effort on the all-genre Billboard 200, though. (The highest charting album from any of the non-SuperM acts is NCT 127’s NCT #127 We Are Superhuman: The 4th Mini Album, which debuted and peaked at No. 11 earlier this year.)

SuperM’s The 1st Mini Album starts with 168,000 units, and of that sum, 164,000 were in album sales. The rest of the album’s first-week comprised less than 1,000 TEA units, and a little over 3,000 SEA units. The latter sum equates to 4.9 million on-demand audio streams during the tracking week for the seven tracks on the album. (The album has seven tracks in total, but only five distinct songs. The additional two tracks are instrumental versions of songs on the album.)

SuperM’s handsome start was encouraged mightily by an array of permutations in which to purchase the album, which was likely very appealing to the group’s fans, since K-pop fans are often passionate about buying collectible physical packages of an album. The 1st Mini Album had more than 60 merchandise/album bundles available to purchase through their official web stores, a concert ticket/album sale redemption offer with their upcoming arena tour and eight different CD variants of the album (seven with a different cover for each member, along with a group edition). The act also staged a week-long pop-up shop in Los Angeles during street week, where fans could buy the CD (as well as oodles of individual merch items).

At No. 2 on the new Billboard 200, Summer Walker’s debut studio effort, Over It, launches with 134,000 equivalent album units earned — the biggest week for an R&B album by a female artist in over three years. The last R&B album by a woman to notch a bigger week was Beyoncé with Lemonade, which tallied 202,000 units in its third week on the list (May 28, 2016; at No. 2) after previously bowing at No. 1.

Over It’s starting sum of 134,000 units was largely powered by streaming activity, as the set garnered 14,000 album sales, 1,000 TEA units and 119,000 SEA units. The latter figure translates to a big 154.7 million on-demand audio streams for the album’s songs — marking the largest streaming week ever for an R&B album by a woman in terms of on-demand audio streams (surpassing the debut week of Beyoncé’s Lemonade, with 115.2 million). It also scores the second-largest streaming week for an R&B album among all acts (trailing only the debut week of The Weeknd’s Starboy, with 175.2 million).

Previous to the debut of Over It, Walker earned four top 25-charting hits on the Hot R&B Songs chart, including the top five hit “Playing Games.”

A quintet of former No. 1s are next on Billboard 200, as Post Malone’s Hollywood’s Bleeding slips 2-3 (108,000 units; down 13%), DaBaby’s Kirk falls 1-4 in its second week (75,000 units; down 49%), Taylor Swift’s Lover is steady at No. 5 (51,000 units; down 11%), Chris Brown’s Indigo bolts 13-6 (39,000 units; up 24% after the album was reissued with bonus tracks) and Billie Eilish’s When We All Fall Asleep, Where Do We Go? is a non-mover at No. 7 (38,000 units; down 4%).

Kevin Gates’ I’m Him falls 4-8 in its second week, tallying just over 36,000 equivalent album units (down 52%).

Brantley Gilbert earns his fourth top 10 effort, as Fire & Brimstone debuts at No. 9 with 36,000 equivalent album units earned. Of that sum, 28,000 were in album sales. He previously visited the top 10 with The Devil Don’t Sleep (No. 2 in 2017), Just As I Am (No. 2, 2014) and Halfway to Heaven (No. 4, 2011).

Rounding out the new top 10 is Young Thug’s So Much Fun, at No. 10. The former No. 1 dips 8-10 in its eighth week on the list, with 35,000 units (down 10%).

Source: billboard.com

Plus: The Beatles’ former No. 1 “Abbey Road” returns to the top three, Kevin Gates and Whiskey Myers debut in top 10.

DaBaby scores his first No. 1 album on the Billboard 200 chart as Kirk opens in the top slot.

The set, which is the hip-hop artist’s second studio effort, starts with 145,000 equivalent album units earned in the U.S. in the week ending Oct. 3, according to Nielsen Music. Of that sum, just 8,000 were in album sales, as the set was powered largely by streaming activity. Kirk was released on Sept. 27 via SouthCoast/Interscope Records.

Elsewhere in the top 10, The Beatles’ former No. 1 Abbey Road returns to the top five after its 50th anniversary reissue, Kevin Gates’ I’m Him debuts and Whiskey Myers lands its first top 10.

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 Oct. 12-dated chart (where Kirk debuts at No. 1) will be posted in full on Billboard‘s websites on Oct. 8.

Kirk, which is DaBaby’s actual last name (real name: Jonathan Kirk), follows his first studio release, Baby on Baby, which peaked at No. 7 on the June 1-dated list. The latter boasts DaBaby’s breakthrough single “Suge,” which marked his first top 10 hit on the all-genre Billboard Hot 100 songs chart (reaching No. 7 on July 6). Through the week ending Oct. 2, Baby on Baby has earned 719,000 equivalent album units, and collected over 1 billion on-demand audio streams for its songs.  

As noted above, Kirk starts with 145,000 equivalent album units, of which 8,000 were in album sales, 2,000 in TEA units and 136,000 in SEA units. The latter sum equates to 181.7 million on-demand audio streams for the set’s 13 songs during its first week — the fifth-largest debut streaming week for an album in 2019.

At No. 2 on the new Billboard 200, Post Malone’s Hollywood’s Bleeding shifts down one slot after spending its first three weeks at No. 1. The album tallied 124,000 equivalent album units in the new tracking week, down 17%.

The Beatles’ former No. 1 album Abbey Road zooms back into the top 10 for the first time since 1970, as the set vaults from No. 71 to No. 3 after the album was reissued on Sept. 27 to commemorate its 50th anniversary. It earned 81,000 equivalent album units in the week ending Oct. 3 (up 803%) with 70,000 of that sum in album sales (up 3,091%).

Abbey Road was released on Sept. 26, 1969, and spent 11 nonconsecutive weeks at No. 1 on the Billboard 200 in late 1969 and early 1970. It first reached the top of the list dated Nov. 1, 1969, and it spent its final week at No. 1 on Jan. 24, 1970.

The album continued to chart consistently through May of 1971, returned for a spell in 1976, and then racked up numerous weeks on the chart between 1981 and 1988. Then, from 1991 through 2009, catalog (older) albums like Abbey Road were generally ineligible to chart on the list, so Abbey Road was absent from the chart during that time. But in late 2009, after the catalog restriction was lifted, Abbey Road returned to the chart and has racked up 200 weeks on the tally since.

With Abbey Road’s rise to No. 3 on the new chart, the album nets its first week in the top 10 since April 25, 1970 (when it ranked at No. 9) and its highest placing since March 14, 1970 (No. 3).

Abbey Road boasts familiar favorite songs like “Come Together,” “Something” (which together topped the Hot 100 chart as a double-sided single), “Octopus’s Garden,” “Here Comes the Sun,” “Carry That Weight” and “The End.”

The album was freshly mixed and reissued on Sept. 27 in a variety of formats, many coming with an array of previously unreleased recordings and demo tracks.

Abbey Road is the latest in a series of 50th anniversary reissues from The Beatles, following the act’s self-titled set (often referred to as The White Album) in 2018 and Sgt. Pepper’s Lonely Hearts Club Band in 2017. The White Album re-entered at No. 6 on the Nov. 24, 2018, chart following its reissue, and Sgt. Pepper’s re-entered the chart at No. 3 on the June 17, 2017-dated list after its re-release.

Back on the new Billboard 200, Kevin Gates collects his fourth top 10 album, as I’m Him bows at No. 4 with 70,000 equivalent album units earned (with 10,000 of that sum in album sales). He previously visited the top 10 with Luca Brasi 3 (No. 4 in 2018), By Any Means 2 (No. 4, 2017) and Islah (No. 2, 2016).

Taylor Swift’s former No. 1 Lover falls one rung to No. 5 with 57,000 equivalent album units (down 13%).

Country-rock band Whiskey Myers captures its first top 10 album on the Billboard 200 as the group’s self-titled effort starts at No. 6 with 42,000 equivalent album units earned (of which 39,000 were in album sales). Sales of the new album were boosted by a concert ticket/album sale redemption offer with the band’s tour in 2019.

The debut of the new album follows the Texas act’s first big national attention back in 2018, when it was seen performing the song “Stone” in an episode of Paramount Network’s Yellowstone, starring Kevin Costner. During the release week of the new album, Whiskey Myers landed its first live performance on national television, performing “Rolling Stone” on NBC’s Today on Oct. 1.

Whiskey Myers also scored its first chart hit on a Billboard airplay chart recently, as the new album’s “Gasoline” premiered at No. 37 on the Mainstream Rock Songs chart dated Oct. 5.

The band previously visited the chart with its last three albums: Mud (No. 80 in 2016), Early Morning Shakes (No. 54, 2014) and Firewater (No. 198, 2011).

On the new Billboard 200, Billie Eilish’s former No. 1 When We All Fall Asleep, Where Do We Go? climbs 8-7 with 39,000 equivalent album units (up 20%). The set gains in the wake of Eilish’s performances on NBC’s Saturday Night Live on Sept. 29.

Rounding out the rest of the new top 10: Young Thug’s former leader So Much Fun dips 5-8 with nearly 39,000 equivalent album units earned (down 13%), Lizzo’s Cuz I Love You is steady at No. 9 with 37,000 units (though up 13%) and Lil Tecca’s We Love You Tecca falls 6-10 with 35,000 units (down 10%).

Source: billboard.com