Plus, Khalid hits the top 10 with “Better.”

Lil Nas X logs a second week atop the Billboard Hot 100 as “Old Town Road,” now featuring Billy Ray Cyrus, who joined for a remix released April 5, reigns with a record-blasting streaming week.

The track leads the Streaming Songschart for a second frame with 143 million U.S. streams in the week ending April 11, according to Nielsen Music. The sum easily surpasses the prior mark, set when Drake‘s “In My Feelings” drew 116.2 million streams, as reflected on the chart dated July 28, 2018. (Both the remix and the original version of “Road” count toward the song’s singular chart placement.)

Meanwhile, Khalid collects his fourth Hot 100 top 10, as “Better” bounds 16-8 as his new album Free Spirit arrives as his first No. 1 on the Billboard 200 chart.

Let’s run down the top 10 of the newest Hot 100 (dated April 20), which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (April 16).

Record streams: “Road” rockets by 207%, from 46.6 million U.S. streams to 143 million, shattering the record for the most in a week. Here’s an updated look at the biggest streaming weeks:

Total Weekly U.S. Streams, Title, Artist, Chart Date
143 million, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, April 20, 2019
116.2 million, “In My Feelings,” Drake, July 28, 2018
106.2 million, “In My Feelings,” Drake, Aug. 4, 2018
103.1 million, “Harlem Shake,” Baauer, March 2, 2013
101.7 million, “God’s Plan,” Drake, March 3, 2018
97.6 million, “Harlem Shake,” Baauer, March 9, 2013
95.4 million, “In My Feelings,” Drake, Aug. 11, 2018
93.8 million, “Thank U, Next,” Ariana Grande, Dec. 15, 2018
92.8 million, “God’s Plan,” Drake, March 10, 2018
92.7 million, “In My Feelings,” Drake, Aug. 18, 2018

Best sales week in over a year: “Road” also roars by 454% to 124,000 downloads sold in the week ending April 11, as it tops Digital Song Sales for the first time. That’s the biggest weekly total since Drake’s “God’s Plan” debuted with 127,000 sold (Feb. 3, 2018).

Airplay advances: “Road” additionally surges in radio airplay, entering the all-genre Radio Songs chart at No. 33, up 142% to 28.8 million audience impressions in the week ending April 14. As for individual formats, the track charges 23-15 on Rhythmic Songs and 30-21 on Pop Songs and debuts at No. 28 on Mainstream R&B/Hip-Hop. (It departs Country Airplay after a week at No. 53, when its reach at the format was powered largely by syndicated morning show plays; all four charts are based purely on airplay on reporters to each respective panel.)

“Road” sweeps the Hot 100’s top Streaming, Sales and Airplay Gainer awards, marking the first title to triple up with all three honors since Ariana Grande‘s “Thank U, Next,” after the release of its official video, atop the chart dated Dec. 15, 2018.

Billy Ray No. 1 … after Miley: Billy Ray Cyrus came in like a wrecking ball, too.

Now credited on “Road,” as streaming and sales for the week were driven most heavily by the new Cyrus remix, he scores his first Hot 100 No. 1. The country chart veteran bests his prior No. 4 Hot 100 peak, set by his debut smash “Achy Breaky Heart” in July 1992. Four months later … daughter Miley was born, and now her father has his first Hot 100 No. 1 … after Miley reigned. Her “Wrecking Ball” swung to No. 1 for three weeks beginning Sept. 28, 2013.

Notably, over half a century ago, a famous father also earned his first Hot 100 No. 1 after his daughter first led the list; Nancy Sinatra topped the chart for a week in February 1966 with “These Boots Are Made for Walkin’.” Over a year later, beginning in April 1967, she and father Frank led with their duet “Somethin’ Stupid,” his only Hot 100 No. 1; of course, his career predated the Hot 100’s Aug. 4, 1958, launch, with the iconic crooner claiming credit at No. 1 on Billboard‘s first chart ranking the national sales of recorded songs, dated July 27, 1940.

Cyrus makes his first appearance on a Billboard songs chart since his featured turn on Buck 22’s “Achy Breaky 2,” a reworking of “Achy Breaky Heart,” which hit No. 11 on Hot Rap Songs and No. 80 on the Hot 100 in March 2014.

No. 1 hip-hop & rap: “Road” concurrently posts a second week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Post Malone and Swae Lee‘s former one-week Hot 100 leader “Sunflower (Spider-Man: Into the Spider-Verse)” is steady at No. 2, while Post Malone’s solo single “Wow.” rebounds 4-3 following its No. 2 peak.

Grande’s “7 Rings” slips 3-4 on the Hot 100 after eight weeks at No. 1, while topping Radio Songs for a second week (82 million, down 8%); Halsey‘s former two-week Hot 100 No. 1 “Without Me” holds at No. 5; Jonas Brothers‘ “Sucker,” which soared in as their first No. 1 on the March 16-dated Hot 100, rises 8-6; and Cardi Band Bruno Mars‘ “Please Me” dips 6-7 after reaching No. 3.

Khalid vaults 16-8 on the Hot 100 with “Better,” which becomes his fourth top 10 on the chart, and first as a sole lead artist. He previously reached the region as featured, with Alessia Cara, on Logic’s “1-800-273-8255” (No. 3, September 2017) and with “Love Lies,” with Normani (No. 9, September 2018) and “Eastside,” with Benny Blanco and Halsey (No. 9, this January).

Fueled most heavily by streaming, “Better” blasts 46-9 on Streaming Songs (24.8 million, up 36%), becoming Khalid’s first top 10 on the chart as a lead artist, and second overall, after “1-800-273-8255” hit No. 3. “Better” is from his new album Free Spirit, which launches atop the Billboard 200 with 202,000 equivalent album units.

Source: billboard.com

Plus: Sara Bareilles and Brooks & Dunn bow in top 10.

Khalid notches his first No. 1 on the Billboard 200 albums chart, as his third release, Free Spirit, opens atop the tally. The set, released on April 5 through Right Hand/RCA Records, starts with 202,000 equivalent album units earned in the week ending April 11, according to Nielsen Music — the fourth-largest week of 2019 for an album. Of that sum, 85,000 were in traditional album sales.

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 April 20-dated chart (where Free Spiritbows at No. 1) will be posted in full on Billboard‘s websites on April 16.

Free Spirit’s start of 202,000 equivalent album units is the fourth-biggest week for an album in 2019, and the largest for a set by a male solo artist. The only bigger weeks logged in 2019 were the starting frames of Ariana Grande’s Thank U, Next(360,000), Billie Eilish’s When We All Fall Asleep, Where Do We Go? (313,000) and Backstreet Boys’ DNA (234,000).

Of Free Spirit’s opening-week unit sum, 111,000 were in SEA units (translating to 146.9 million on-demand audio streams for the albums tracks), 85,000 were in album sales (boosted by a concert ticket/album sale redemption offer with his upcoming tour) and 6,000 were in TEA units.

Concurrent with the success of Khalid’s two earlier albums, he has also notched 20 entries on the Billboard Hot 100 songs chart, including a trio of top 10s: as a featured artist on Logic’s “1-800-273-8255” and with “Love Lies,” with Normani, and “Eastside,” with Benny Blanco and Halsey.

At No. 2 on the new Billboard 200, Eilish’s When We All Fall Asleep dips from No. 1 in its second week on the tally, earning 118,000 units (down 62%).

Nipsey Hussle’s Victory Lap slips one rung to No. 3 with 63,000 units (down 5%), Grande’s Thank U, Next falls 3-4 with 47,000 units (down 12%) and Juice WRLD’s Death Race for Love is steady at No. 5 with 38,000 units (down 14%).

Sara Bareilles’ Amidst the Chaos debuts at No. 6 on the Billboard 200, marking the singer-songwriter’s sixth top 10 effort. The set launches with 35,000 equivalent album units earned (of which 29,000 were in album sales). She previously visited the top 10 with What’s Inside: Songs From Waitress (No. 10 in 2015), The Blessed Unrest (No. 2, 2013), Once Upon Another Time (No. 8, 2012), Kaleidoscope Heart (No. 1, 2010) and Little Voice (No. 7, 2008).

Of Free Spirit’s opening-week unit sum, 111,000 were in SEA units (translating to 146.9 million on-demand audio streams for the albums tracks), 85,000 were in album sales (boosted by a concert ticket/album sale redemption offer with his upcoming tour) and 6,000 were in TEA units.

Notably, Free Spirit is the first R&B album to reach No. 1 in nearly a year. The last to do so was The Weeknd’s My Dear Melancholy EP, which bowed atop the tally dated April 14, 2018. Before that, one has to scroll back to June 17, 2017, when Bryson Tiller’s True to Self opened at No. 1.

Free Spirit follows Khalid’s 2017 debut album, American Teen, and last year’s Suncity. The former climbed to a peak of No. 4 back in September of 2017, while Suncitydebuted and peaked at No. 8 in November of 2018. American Teen has yet to depart the chart after 110 consecutive weeks on the tally (it climbs 35-33 on the latest chart). Through April 11, American Teen has earned 2.45 million equivalent album units, while Suncity has collected 450,000 units.

So far, Khalid’s catalog of tunes has tallied 4 billion on-demand audio streams.

Concurrent with the success of Khalid’s two earlier albums, he has also notched 20 entries on the Billboard Hot 100 songs chart, including a trio of top 10s: as a featured artist on Logic’s “1-800-273-8255” and with “Love Lies,” with Normani, and “Eastside,” with Benny Blanco and Halsey.

At No. 2 on the new Billboard 200, Eilish’s When We All Fall Asleep dips from No. 1 in its second week on the tally, earning 118,000 units (down 62%).

Nipsey Hussle’s Victory Lap slips one rung to No. 3 with 63,000 units (down 5%), Grande’s Thank U, Next falls 3-4 with 47,000 units (down 12%) and Juice WRLD’s Death Race for Love is steady at No. 5 with 38,000 units (down 14%).

Sara Bareilles’ Amidst the Chaos debuts at No. 6 on the Billboard 200, marking the singer-songwriter’s sixth top 10 effort. The set launches with 35,000 equivalent album units earned (of which 29,000 were in album sales). She previously visited the top 10 with What’s Inside: Songs From Waitress (No. 10 in 2015), The Blessed Unrest (No. 2, 2013), Once Upon Another Time (No. 8, 2012), Kaleidoscope Heart (No. 1, 2010) and Little Voice (No. 7, 2008).

Post Malone’s beerbongs & bentleys is a non-mover at No. 7 with 31,000 units (down 1%).

Country duo Brooks & Dunn returns to the top 10 for the first time in nearly a decade, as Reboot debuts at No. 8. The all-star collaborations effort features Brooks & Dunn covering their familiar hits with the likes of Kacey Musgraves, Luke Combsand Thomas Rhett. The album bows with 31,000 equivalent album units earned, with 21,000 of that sum in album sales. All told, Reboot marks Brooks & Dunn’s 10th top 10 album, and first since the 2009 greatest hits album #1s… And Then Some (No. 5; Sept. 26, 2009).

With Brooks & Dunn’s 10th top 10 album, the act breaks out of a tie with Rascal Flatts for the most top 10 albums on the Billboard 200 among country duos and groups.

Rounding out the new top 10 on the Billboard 200, A Boogie Wit da Hoodie’s Hoodie SZN and Drake’s Scorpion are stationary at Nos. 9 and 10, respectively, earning 30,000 units (down 1%) and 29,000 units (up less than 1%).

Source: billboard.com

Plus, Billie Eilish earns first her top 10 with “Bad Guy,” from her first Billboard 200 No. 1 album, “When We All Fall Asleep, Where Do We Go?”

Lil Nas X blasts from No. 15 to No. 1 on the Billboard Hot 100 with his debut hit and viral smash “Old Town Road.”

Plus, Billie Eilish scores her first Hot 100 top 10, as “Bad Guy” bounds onto the chart at No. 7. The song is her from album When We All Fall Asleep, Where Do We Go?, which launches as her first No. 1 on the Billboard 200 chart.

Additionally, Ariana Grande‘s “7 Rings,” which falls to No. 3 on the Hot 100 after eight weeks at No. 1, becomes her first leader on the Radio Songs chart.

Let’s run down the top 10 of the newest Hot 100 (dated April 13), which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (April 9).

“Old Town Road” becomes the 1,086th No. 1 in the Hot 100’s 60-year history. Here’s a look at highlights of the list’s new leader by Atlanta native Lil Nas X, whose real name is Montero Lamar Hill; he was born April 9, 1999, and, thus, celebrates his 20th birthday tomorrow with a host of chart honors to unwrap.

No. 1 in streaming: “Road” roars to No. 1 on the Streaming Songs chart, from No. 7, up 60% to 46.6 million U.S. streams in the week ending April 4, according to Nielsen Music. The song wins the Hot 100’s top Streaming Gainer award for a third consecutive week.

“Road” also rises 11-3 on Digital Song Sales, surging by 83% to 22,000 downloads sold in the week ending April 4, as it claims top Sales Gainer honors for the second time in three weeks.

The song additionally gains by 190% to 11.9 million all-format audience impressions in the week ending April 7, as it continues to approach the Radio Songs chart.

Debut ‘Moves’: While Lil Nas X is the first artist to take an initial Hot 100 entry to No. 1 since Bradley Cooper just five weeks earlier, thanks to Cooper’s duet “Shallow” with Lady Gaga, Lil Nas X is the first artist unaccompanied by another act to top the Hot 100 on a first try since Cardi B, whose “Bodak Yellow (Money Moves)” spent three weeks at No. 1 in October 2017.

Lil Nas X is the first male artist (in a lead role) to lead the Hot 100 in a first visit since Desiigner took “Panda” to the top for two weeks in May 2016.

15 to 1: “Road” makes the second-biggest jump to No. 1 on the Hot 100 this year. “Shallow” soared 21-1 following its win for best original song at the 91st Academy Awards.

Quick ‘Road’ to No. 1: “Road” reaches No. 1 on the Hot 100 in just its sixth week on the chart. While the song it replaces at the summit, Grande’s “7 Rings,” debuted at No. 1, “Road” marks the fastest flight to No. 1 for an artist’s debut entry (in a lead role) since Zayn’s “Pillowtalk” opened on top in February 2016.

As Zayn was already known as a former member of powerhouse boy band One Direction, Lil Nas X makes the swiftest ascent to No. 1 on the Hot 100 for an act with no prior Hot 100 history at all since Baauer blasted in at the top spot with his five-week leader “Harlem Shake” in March 2013.

Columbia in command: After buzz began building for “Road,” Lil Nas X signed with Columbia Records. Now, the label boasts its first Hot 100 No. 1 since The Chainsmokers’ “Closer,” featuring Halsey, reigned for 12 weeks from September through November 2016.

“Road” is the first debut Hot 100 No. 1 for an artist on Columbia since OMI’s “Cheerleader” stood atop the chart’s pyramid for six weeks in 2015.

NIN at No. 1: As “Road” samples Nine Inch Nails’ track “34 Ghost IV,” from the industrial rock band’s 2008 album Ghosts I–IV, NIN’s Trent Reznor and Atticus Ross sport co-writing and co-producing credit on “Road.” (Lil Nas X also earns a writing credit, while YoungKio additionally claims producer credit.)

Reznor and Ross make their first trip to No. 1 on the Hot 100 as writers and producers. As a band, NIN hit a No. 17 Hot 100 high in August 1999 with “The Day the World Went Away” (written and co-produced by Reznor).

No. 1 hip-hop & rap: “Road” concurrently becomes Lil Nas X’s first No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, leaping from No. 7 on each list.

‘Road’ ahead: “Road” should benefit on next week’s charts (dated April 20) thanks its new remix, featuring Billy Ray Cyrus, released Friday, April 5; data for the remix’s first full tracking week will feed next week’s tallies, which will reflect the streaming and sales week of April 5-11 (with both the remix and original version counting toward the song’s singular chart placement).

Post Malone‘s former one-week Hot 100 leader “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, rebounds 3-2 and Grande’s “7 Rings” descends to No. 3 after eight weeks at No. 1, her career-best rule among her two toppers; “Thank U, Next” led for seven weeks beginning in November.

Still, “7 Rings” becomes Grande’s first No. 1 on Radio Songs, rising from No. 2 despite a 3% percent dip to 88.7 million in audience. Grande previously reached a No. 2 high on the chart with “Problem,” featuring Iggy Azalea, in 2014 (and sent five subsequent singles to No. 3, including “Next”).

Post Malone’s solo single “Wow.” drops to No. 4 on the Hot 100 from its No. 2 peak; Halsey‘s former two-week No. 1 “Without Me” falls 4-5; and Cardi B and Bruno Mars‘ “Please Me” retreats 5-6 after reaching No. 3.

Billie Eilish notches her first Hot 100 top 10, as “Bad Guy” vaults onto the chart at No. 7. The song is her from album When We All Fall Asleep, Where Do We Go?, which arrives as her first Billboard 200 No. 1. She outdoes her prior best Hot 100 rank, as fellow Asleep song “Bury a Friend” reached No. 14 in February.

After the official video for “Bad Guy” premiered March 29, the song starts at No. 2 on Streaming Songs with 34.7 million U.S. streams. On Digital Song Sales, the track enters at No. 7 (16,000 sold).

“Bad Guy” is one of five songs that Eilish places in the Hot 100’s top 40, joined by “Friend” (41-25); current pop radio single “When the Party’s Over” (a re-entry at No. 29, a new high); “Wish You Were Gay” (84-31); and “Xanny” (new at No. 35). (She had previously appeared in the top 40 only with “Friend.”)

Jonas Brothers‘ “Sucker,” which started as the trio’s first No. 1 on the March 16-dated Hot 100, lifts 9-8, while achieving top Airplay Gainer honors for a fourth week. The track becomes the group’s first Radio Songs top 10, pushing 12-8 (69 million, up 24%).

Marshmello and Bastille‘s No. 2 Hot 100 hit “Happier” backtracks 6-9, while ruling the Hot Dance/Electronic Songs chart for a 29th week, and J. Cole‘s No. 4-peaking Hot 100 hit “Middle Child” slips 7-10.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (April 9), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (April 12).

Source: billboard.com

Set scores second-biggest week of 2019 for any album, third-largest streaming week ever for an album by a woman.

Billie Eilish scores her first No. 1 album on the Billboard 200 chart, as When We All Fall Asleep, Where Do We Go? storms in atop the tally with 313,000 equivalent album units earned in the U.S. in the week ending April 4, according to Nielsen Music, scoring the second-largest week of 2019 for any album. Of the album’s starting sum, 170,000 were in album sales, the second-largest sales week for an album this year.

When We All Fall Asleep was released on March 29 through Darkroom/Interscope Records.

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 April 13-dated chart (where When We All Fall Asleep enters at No. 1) will be posted in full on Billboard‘s websites on April 9.

The new album follows the steady success of Eilish’s first release, Don’t Smile at Me, which has spent 67 weeks on the chart, and rises 20-15 on the new tally. (It peaked at No. 14 in January.) The nine-song set was issued in 2017, has earned 947,000 equivalent album units, and generated more than 1.2 billion on-demand audio streams for its tracks.

In 2018, Eilish charted her first five entries on the all-genre Billboard Hot 100 songs chart, and has notched three more debuts in in 2019 (through the most recently published chart, dated April 6). She also clocked a top 10 hit on the Alternative Songs airplay chart in December with “You Should See Me in a Crown,” the first single from When We All Fall Asleep.

Here’s a look at some of the eye-popping achievements Eilish has accomplished with the debut of her new album, When We All Fall Asleep.

Second-Largest Week of 2019 for an Album: With When We All Fall Asleep’s starting sum of 313,000 units, it logs the second-largest week of 2019, in terms of total units, among all albums. Only Ariana Grande’s Thank U, Next garnered a bigger frame, when it debuted with 360,000 units earned (bowing at No. 1 on the Feb. 23-dated chart).

300,000 Club: As When We All Fall Asleep snared 313,000 units earned in its first week, it’s just the seventh album by a woman to tally over 300,000 units in at least one week, since the Billboard 200 chart began measuring by equivalent album units in December of 2014. The others: Taylor Swift’s 1989, Adele’s 25, Beyoncé’s Lemonade, P!nk’s Beautiful Trauma, Swift’s reputation and Grande’s Thank U, Next.

Further, When We All Fall Asleep is marketed as Eilish’s proper debut album. If one compared the new album’s opening week to those of other debut albums, it would be the largest since the chart transitioned to an equivalent album units ranking in December 2014.

2019’s Second-Biggest Sales Week: When We All Fall Asleep sold 170,000 copies in its first frame, the second-largest sales week of 2019 for an album, and the largest for an album by a woman. The only bigger sales frame was tallied by Backstreet Boys’ DNA, which launched with 227,000 copies sold (Feb. 9-dated chart). (Both DNAand When We All Fall Asleep had concert ticket/album sale redemption offers assisting their first weeks.)

Vinyl Victory: When We All Fall Asleep sold a stunning 15,000 copies on vinyl LP, marking the largest sales week of 2019 for a vinyl album. The last larger week was tallied by Panic! at the Disco’s Pray for the Wicked, when it bowed with 26,000 sold on the July 7, 2018-dated chart. In total, since Nielsen began electronically tracking music sale purchases in 1991, When We All Fall Asleep is just the second album by a woman to sell at least 15,000 vinyl LPs in a week. The other? Adele’s 25, which notched five frames of 15,000-plus vinyl weeks.

Third-Biggest Streaming Week Ever for an Album by a Woman: Of When We All Fall Asleep’s starting total unit sum of 313,000 units, SEA units comprised 137,000 units. That latter total translates to 194 million on-demand audio streams for the album’s songs during its debut week. That figure represents the third-biggest streaming week for an album by a woman, following the debut weeks of Thank U, Next (307.07 million) and Cardi B’s Invasion of Privacy (202.65 million; chart dated April 21, 2018).

Youngest Woman at No. 1 Since 2009: Eilish is the first artist born in the 2000s to have a No. 1 album on the Billboard 200 chart. (Her birth date is Dec. 18, 2001.) At just 17 years and 3 months old, she is the youngest artist to hit No. 1 since 2015, when a then 16-year-old Shawn Mendes topped the chart dated May 2, 2015 with Handwritten. (Mendes was 16 years and eight months old at the time.) Eilish is the youngest woman to reach No. 1 since Demi Lovato debuted at No. 1 on the Aug. 8, 2009-dated chart with Here We Go Again, when she was 16 years and 11 months old.

At No. 2 on the new Billboard 200, the late Nipsey Hussle re-enters straight in at No. 2 with his 2018 debut studio effort Victory Lap. The set earned 66,000 equivalent album units in the week ending April 4 (up 2,244 percent), with 17,000 of that sum in album sales (up 7,205 percent). The album surpasses its original peak of No. 4, achieved in its debut frame on March 3, 2018.

Hussle died on March 31 after being shot outside of his Marathon Clothing store in Los Angeles.

Ariana Grande’s former No. 1, Thank U, Next, slips 2-3 in its eighth week on the tally with 53,000 units (down 14 percent).

Country king George Strait clocks his 21st top 10 Billboard 200 album, as his new Honky Tonk Time Machine debuts at No. 4 with 51,000 units (with 44,000 of that sum in album sales). Strait continues to have the most top 10s on the all-genre Billboard 200 chart among all country artists. Strait debuted on the Billboard 200 chart 35 years ago, on March 3, 1984 with Right or Wrong; logged his first visit to the top 10 with the Pure Country soundtrack in 1992; and was last in the top 10 with 2015’s Cold Beer Conversation (also debuting, and peaking, at No. 4).

The new top 10 on the Billboard 200 is rounded out by a gaggle of former No. 1s. Juice WRLD’s Death Race for Love dips 3-5 (44,000 units; down 19 percent), NAV’s Bad Habits descends 1-6 in its second week (35,000 units; down 58 percent), Post Malone’s beerbongs & bentleys climbs 8-7 (32,000 units; up less than 1 percent), Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack falls 6-8 (31,000 units; down 11 percent), A Boogie Wit da Hoodie’s Hoodie SZN slides 7-9 (30,000 units; down 4 percent) and Drake’s Scorpion bumps 12-10 (29,000 units; up less than 1 percent).

Source: billboard.com

Plus, Post Malone boasts two of the top three spots.

Ariana Grande rewrites her longest command of the Billboard Hot 100, as “7 Rings,” her second leader on the list, rules for an eighth week. She first topped the Hot 100 for seven weeks with “Thank U, Next” beginning in November.

Plus, Post Malone claims the Nos. 2 and 3 spots on the Hot 100, led by his single “Wow.,” which hits a new high at the runner-up rank.

Additionally, Blueface’s “Thotiana” returns to the Hot 100’s top 10 at a new No. 8 peak and Lady Gaga and Bradley Cooper‘s former Hot 100 No. 1 “Shallow,” now at No. 10, becomes Gaga’s first top 10 on the Radio Songs chart since “Applause” in 2013.

Let’s run down the top 10 of the newest Hot 100 (dated April 6), which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (April 2).

“Rings,” released on Republic Records, holds at its No. 2 high on Radio Songs, despite a 1 percent dip to 91.8 million audience impressions in the week ending March 31, according to Nielsen Music. It drops to No. 3 on the Streaming Songschart, after eight weeks at No. 1, with 35.5 million U.S. streams, down 3 percent, in the week ending March 28. On Digital Song Sales, it rebounds 6-5, after three weeks at No. 1 (17,000 downloads sold, down 5 percent, in the week ending March 28).

Post Malone sports two songs in the Hot 100’s top three for the first time, as “Wow.” rises to a new high, pushing 4-2, and former one-week leader “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, keeps at No. 3.

“Wow.” jumps 4-2 for a new peak on Streaming Songs, up 15 percent to 35.4 million streams in the week ending March 28, its first full frame of tracking after the March 19 premiere of its new official video. It’s steady at No. 2 on Digital Song Sales (23,000, down 2 percent) and holds at No. 7 on Radio Songs (67.5 million, a new weekly best, up 3 percent).

“Sunflower” rebounds 2-1 for a third week atop Streaming Songs (38.7 million U.S. streams, up 7 percent) and lifts 4-3 on Digital Song Sales (21,000, up 13 percent).

Post Malone is the 30th artist in the Hot 100’s 60-year history to claim two of the top three positions simultaneously, joining 50 Cent, Akon, Ashanti, Iggy Azalea, The Beatles, Bee Gees, Beyoncé, Justin Bieber, The Black Eyed Peas, Boyz II Men, Cardi B, Mariah Carey, Diddy, DJ Khaled, Drake, Grande, Ja Rule, Ludacris, Macklemore & Ryan Lewis, Monica, Nelly, OutKast, Rihanna, Donna Summer, Taylor Swift, T.I., The Weeknd, Pharrell Williams and Usher.

Grande and The Beatles are the only acts to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously, with Grande having achieved the feat on the chart dated Feb. 23.

“Wow.” concurrently ascends 2-1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, becoming Post Malone’s fourth No. 1 on each survey and dethroning “Sunflower.”

Halsey‘s former two-week Hot 100 No. 1 “Without Me” descends 2-4, as it leads Radio Songs for a fifth week (92.1 million, down 5 percent). Rounding out the Hot 100’s top five, Cardi B and Bruno Mars‘ “Please Me” is stationary at No. 5 after reaching No. 3.

Marshmello and Bastille‘s No. 2 Hot 100 hit “Happier” holds at No. 6, while ruling the Hot Dance/Electronic Songs chart for a 28th week, and J. Cole‘s No. 4-peaking Hot 100 hit “Middle Child” rises 9-7.

Blueface’s “Thotiana” revisits the Hot 100’s top 10, climbing from No. 11 to a new No. 8 high after first reaching No. 9 on March 9. The rapper’s debut hit holds at No. 5 on Streaming Songs, up 8 percent to 33.9 million streams.

Jonas Brothers‘ “Sucker,” which soared in at No. 1 on the March 16-dated Hot 100, takes an 8-9 licking but wins top Airplay Gainer honors for a third week, as it jumps 19-12 on Radio Songs (55.7 million, up 23 percent). On the Pop Songs airplay chart, “Sucker” surges 13-9, becoming the trio’s first top 10; it had previously reached a No. 12 best with “Burnin’ Up” in 2008.

Capping the Hot 100’s top 10, Lady Gaga and Bradley Cooper’s “Shallow” falls 7-10 after leading the March 9-dated chart. Still, the ballad rules Digital Song Sales for a 10th week (28,000, down 12 percent), becoming just the 12th single ever to run up a reign of double-digit weeks. It’s the chart’s longest-leading No. 1 since Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, spent a record 17 weeks at No. 1 in 2017.

Meanwhile, “Shallow” reaches the Radio Songs top 10, ascending 12-10 (57.4 million, up 3 percent). Gaga earns her 11th top 10 on the airplay tally and first since “Applause,” which reached No. 7 in October 2013. She has scored two Radio Songs No. 1s: “Paparazzi” (one week, November 2009) and “Born This Way” (one, April 2011).

The ballad from A Star Is Born spent its first 17 weeks on Radio Songs between Nos. 50 and 36 before entering the top 30 for the first time on the March 9-dated chart, concurrent with its Hot 100 coronation following its Oscars win for best original song.

Just outside the Hot 100’s top 10, Lil Nas X’s breakthrough track “Old Town Road” blasts 32-15, as it reaches the Streaming Songs top 10, leaping 17-7 (29.1 million, up 61 percent, good for top Streaming Gainer honors on the Hot 100), and zooms 21-11 on Digital Song Sales (12,000 sold, up 47 percent). It also debuts on the Rhythmic Songs (No. 36) and Pop Songs (No. 38) airplay charts.

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. And again, be sure to visit Billboard.com tomorrow (April 2), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus, Rich the Kid and Motley Crue debut in top 10.

Rapper NAV captures his first No. 1 album on the Billboard 200 chart, as his second studio effort, Bad Habits, debuts atop the tally. The set was released on March 22 via XO/Republic Records, and earned 82,000 equivalent album units in the week ending March 28, according to Nielsen Music. Of that sum, 24,000 were in album sales.

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 April 6-dated chart (where Bad Habits bows at No. 1) will be posted in full on Billboard‘s websites on April 2.

Bad Habits is the second full-length studio album for the 29-year-old NAV. The Toronto-born rapper, who signed to fellow Toronto native The Weeknd’s XO imprint in 2017, earlier logged three entries on the Billboard 200 chart. NAV (real name: Navraj Singh Goraya) previously visited the top 10 with his debut studio set, Reckless, which debuted and peaked at No. 8 on the June 2, 2018-dated chart. He also logged entries with the collaborative mixtape Perfect Timing with Metro Boomin (No. 13 on Aug. 12, 2017) and his self-titled mixtape (No. 24 on March 18, 2017).

Bad Habits was powered by streaming activity, as it collected 57,000 SEA units in its opening frame. That sum equates to 79.08 million on-demand audio streams for the album’s songs in its first week, making the set the most-streamed album of the week.

Bad Habits also starts with about 1,000 in TEA units, and 24,000 in album sales. The latter figure was boosted by an array of merchandise/album bundles sold via NAV’s official webstore, all of which included pre-sale access to purchase tickets to NAV’s upcoming tour.

Late in the tracking week, NAV reissued some previously sold-out bundles, along with new bundles that included a pass that gives customers priority entry to his upcoming tour. Bad Habits also was aided by the mid-week release of a deluxe edition of the album, which sports eight bonus tracks. The deluxe edition arrived on Tuesday, March 26.

While NAV has yet to score a top 20 hit song on the Hot Rap Songs, Hot R&B/Hip-Hop Songs or all-genre Billboard Hot 100 charts, he has accumulated 1.4 billion on-demand audio streams for his catalog of songs (through March 21) in the U.S. His first studio album, Reckless, has earned 387,000 equivalent album units, while its songs have collected over a half-billion on-demand streams.

Bad Habits is the fourth No. 1 album for XO, following three earlier chart-toppers for The Weeknd: Beauty Behind the Madness (in 2015), Starboy (2016) and My Dear Melancholy (2018).

On the new Billboard 200, Bad Habits is followed by another Republic Records release, as Ariana Grande’s Thank U, Next holds at No. 2 (62,000 units; down 7 percent). Since debuting at No. 1 on the Feb. 23-dated chart seven weeks ago, Thank U, Next has yet to leave the top two positions. The last time an album managed that feat (of spending its first seven chart weeks inside the top two) happened back in 2016, when another Republic album, Drake’s chart-topping Views, spent its first 17 weeks between Nos. 1 and 2 (May 21-Sept. 10, 2016).

Back on the new chart, Juice WRLD’s former leader Death Race for Love dips 1-3 in its third week (54,000 units; down 27 percent).

Rapper Rich the Kid earns his second top 10 album on the Billboard 200, as The World Is Yours 2 bows at No. 4. The set launches with 42,000 units (2,000 of that sum were in album sales). The artist previously scored a No. 2-charting album when The World Is Yours opened in the runner-up slot on the April 14, 2018-dated chart.

XXXTentacion’s former No. 1, ?, bolts back up the list, rising 27-5 with 40,000 units (up 132 percent). The ? album’s jump is owed to its reissue with bonus tracks, and also within a number of merchandise/album bundles, commemorating the set’s one-year anniversary.

Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack descends 3-6 on the new Billboard 200 with 35,000 units (down 13 percent), while A Boogie Wit da Hoodie’s Hoodie SZN dips 4-7 with 32,000 units (down 4 percent). Post Malone’s beerbongs & bentleys shifts 6-8 with 31,000 units (down less than 1 percent) and Queen’s Bohemian Rhapsody soundtrack slips 5-9 with 30,000 units (down 10 percent).

Closing out the new top 10 is Mötley Crüe’s soundtrack to The Dirt, bowing at No. 10 with nearly 30,000 units (of which 15,000 were in album sales). It’s the first top 10 set for the rock band in more than a decade, and the act’s ninth top 10 effort overall. The group last visited in the top 10 with their most recent studio effort, Saints of Los Angeles, which debuted and peaked at No. 4 on the July 12, 2008-dated chart.

The Dirt is the companion album to the film of the same name, which is based on the band’s 2006 autobiography The Dirt: Confessions of the World’s Most Notorious Rock Band. The film The Dirt premiered on Netflix on March 22.

The Dirt album features familiar hits from the band’s catalog (including the top 40-charting Hot 100 singles “Girls, Girls, Girls,” “Dr. Feelgood” and “Home Sweet Home”) along with four new recordings. Among the new tracks are “The Dirt (Est. 1981),” featuring Machine Gun Kelly (who plays the band’s Tommy Lee in The Dirt), and a cover of Madonna’s “Like a Virgin.”

Source: billboard.com

She first ruled for 7 weeks with “Thank U Next.”

Ariana Grande‘s “7 Rings” scores its namesake seventh week atop the Billboard Hot 100, matching the longest rule of her two total No. 1s on the chart. She first led for seven weeks with “Thank U, Next” beginning in November.

As she ties her personal best reign, Grande becomes one of an elite 20 acts that have led the Hot 100 for seven weeks or more with at least two singles.

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

“Rings,” released on Republic Records, tops the Streaming Songs chart for an eighth week, having drawn 36.6 million U.S. streams, down 1 percent, in the week ending March 21, according to Nielsen Music.

The track pushes 3-2 on Radio Songs, up 3 percent to 91.5 million audience impressions in the week ending March 24, equaling Grande’s top rank on the chart; “Problem,” featuring Iggy Azalea, hit No. 2 in 2014. (Five other Grande hits reached No. 3 on Radio Songs, including “Next.”) “Rings” dips 5-6 (after three weeks at No. 1) on Digital Song Sales, down 12 percent to 18,000 downloads sold in the week ending March 21.

Notably, thanks to “Rings” and “Next,” Grande joins exclusive company by now boasting a pair of songs that have each led the Hot 100 for at least seven weeks. She’s the 20th such act to earn the honor in the chart’s 60-year history:

Artists With Multiple Hot 100 No. 1s to Lead for at Least Seven Weeks Each
Five such No. 1s: Drake
Four: Mariah Carey, Rihanna
Three: Beyoncé, Boyz II Men, Eminem
Two: 50 Cent, Adele, The Beatles, The Black Eyed Peas, Ariana Grande, Janet Jackson, Michael Jackson, JAY-Z, Maroon 5, Nelly, Santana, T.I., Usher, Pharrell Williams

Drake leads with five No. 1s that have each led for at least seven weeks, all since 2016: as featured on Rihanna’s “Work” (nine weeks, 2016) and with his own “One Dance,” featuring WizKid and Kyla (10 weeks, 2016), “God’s Plan” (11 weeks, 2018), “Nice for What” (eight weeks, 2018) and “In My Feelings” (10 weeks, 2018).

The Beatles first achieved the feat thanks to “I Want to Hold Your Hand,” for seven weeks in 1964, and “Hey Jude,” for nine weeks in 1968 (and remain the only act to attain the distinction with two titles prior to the Hot 100’s adoption of Nielsen data in 1991, after which songs have logged lengthier average reigns; of the 98 No. 1s to lead the chart for at least seven weeks, only 19 did so before that methodology change. Meanwhile, each year since 1991 has now included at least one Hot 100 No. 1 of seven weeks or more).

Halsey‘s former two-week Hot 100 No. 1 “Without Me” rises 3-2, as it leads Radio Songs for a fourth week (96.2 million, down 5 percent).

Post Malone boasts two songs in the Hot 100’s top five for a second week. Former one-week leader “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, slips 2-3 (as it totals an 11th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts) and solo single “Wow.” hits a new Hot 100 high, lifting 5-4. “Wow.” jumps 10-4 on Streaming Songs, up 18 percent to 30.8 million U.S. streams, assisted by the March 15 release of a new remix, featuring Roddy Ricch and Tyga, and a new official video, which premiered March 19.

Rounding out the Hot 100’s top five, Cardi B and Bruno Mars‘ “Please Me” descends 4-5 after reaching No. 3. The duet darts 11-8 on Radio Songs (62.8 million in audience, up 9 percent), becoming Mars’ 16th top 10 and Cardi B’s fifth; this decade, only Drake and Rihanna have more Radio Songs top 10s (19 each) than Mars, who earned his first in 2010. Cardi B and Mars topped the tally together for four weeks last year with their first collab, “Finesse.”

Marshmello and Bastille‘s No. 2 Hot 100 hit “Happier” rises 7-6, while dominating Hot Dance/Electronic Songs for a 27th week.

Lady Gaga and Bradley Cooper‘s “Shallow” rebounds 9-7 on the Hot 100 after leading the March 9-dated chart. The ballad rules Digital Song Sales for a ninth week (32,000, down 8 percent), extending Gaga’s longest command among her six No. 1s and marking the chart’s longest-running leader since Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, ran up a record 17 weeks at No. 1 in 2017. On Radio Songs, “Shallow” reaches another new high, pushing 14-12 (55.1 million, up 5 percent).

Jonas Brothers‘ “Sucker,” which soared in at No. 1 on the March 16-dated Hot 100, drops 6-8 but wins top Airplay Gainer honors for a second week, as it flies 27-19 on Radio Songs (45.1 million, up 26 percent).

Capping the Hot 100’s top 10, J. Cole‘s No. 4-peaking Hot 100 hit “Middle Child” backtracks 8-9 and Meek Mill‘s “Going Bad,” featuring Drake, climbs 14-10, returning to the region for the first time since Dec. 15, when it debuted at its No. 6 high. Since then, the track (Meek Mill’s first Hot 100 top 10 and Drake’s 33rd, the most among solo males) has grown in airplay, having reached the Radio Songs top 20. It also returns to the top 10 on Streaming Songs (12-10; 25.3 million, up 4 percent).

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. And again, be sure to visit Billboard.com tomorrow (March 26), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (March 29).

Source: billboard.com

Juice WRLD performs onstage during day one of the Rolling Loud Festival at Banc of California Stadium on Dec. 14, 2018 in Los Angeles. 

Juice WRLD’s Death Race for Love spends a second straight week at No. 1 on the Billboard 200 albums chart, as the set earned 74,000 equivalent album units in the week ending March 21, according to Nielsen Music. That’s down 55 percent compared to its chart-topping opening frame of 165,000 units.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new March 30-dated chart (where Death Race holds at No. 1) will be posted in full on Billboard‘s websites on March 26.

Death Race leads a quiet top 10, as there are no debuts in the region, and most of the top 10 is populated by former No. 1 albums. (There are just two titles in the current top 10 that haven’t visited the top slot.)

A trio of previous No. 1s follow Death Race, starting with Ariana Grande’s Thank U, Next, which holds at No. 2 with 66,000 equivalent album units (down 9 percent). Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack is steady at No. 3 with 40,000 units (down 16 percent) and A Boogie Wit da Hoodie’s Hoodie SZN climbs 6-4 with a little more than 33,000 units (down 2 percent).

Queen’s Bohemian Rhapsody soundtrack, which peaked at No. 2, is a non-mover at No. 5 with 33,000 units (down 9 percent).

Four more previous leaders are next in the top 10, with Post Malone’s beerbongs & bentleys stepping 7-6 with 31,000 equivalent album units (down less than 1 percent). Drake’s Scorpion rises 9-7 with 30,000 units (down 1 percent), Travis Scott’s Astroworld ascends 10-8 with 28,000 units (down 2 percent) and Meek Mill’s Championships moves 11-9 with nearly 28,000 units (down 1 percent).

Closing out the top 10 is Gunna’s No. 3-peaking Drip or Drown 2, falling 8-10 with 27,000 units (down 15 percent).

Source: billboard.com

After rap’s reign in much of 2018, pop songs have dominated over the past six months.

Ariana Grande‘s “7 Rings” logs a sixth total week atop the Billboard Hot 100songs chart, as it rebounds from No. 2 to No. 1 on the list dated March 23.

Meanwhile, Post Malone reaches the top five with “Wow.” and boasts two songs in the top five for the first time, as the track joins “Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, at No. 2.

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

“Rings,” released on Republic Records, returns to the top of the Hot 100 with a 3-1 lift on the Streaming Songs chart, having drawn 36.9 million U.S. streams, down 7 percent, in the week ending March 14, according to Nielsen Music. The song leads the list for a seventh total week.

The track pushes 4-3 on Radio Songs, with 88.4 million audience impressions, up 3 percent, in the week ending March 17, and holds at No. 5 (after three weeks on top) on Digital Song Sales, with 20,000 downloads sold, down 7 percent, in the week ending March 14.

Notably, with “Rings” the leader on the Hot 100 again, pop songs continue their resurgence on the chart. In 2018, rap hits led for a record 34 consecutive weeks (29 by Drake) between Feb. 3 and Sept. 22. Since then, a full six months have passed with pop back on top: pop songs have now led the Hot 100 for 24 of the past 26 months, with Grande at No. 1 for exactly half that span (13 of those 26 weeks).

Here’s a look at the Hot 100 No. 1s since the chart dated Sept. 29, 2018. Pop songs have led the list exclusively except for two toppers, for a week each, by Travis Scottand, together, Post Malone and Swae Lee:

7 weeks, “Girls Like You,” Maroon 5 feat. Cardi B, beginning Sept. 29, 2018
7 weeks, “Thank U, Next,” Ariana Grande, beginning Nov. 17
1 week, “Sicko Mode,” Travis Scott, Dec. 8
2 weeks, “Without Me, Halsey, beginning Jan. 12, 2019
1 week, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, Jan. 19
6 weeks, “7 Rings,” Ariana Grande, beginning Feb. 2
1 week, “Shallow,” Lady Gaga and Bradley Cooper, March 9
1 week, “Sucker,” Jonas Brothers, March 16

While pop songs have scored atop the Hot 100 in the past six months, hip-hop has been represented; in addition to “Sicko Mode” and “Sunflower,” Cardi B spent seven weeks at No. 1 as featured on Maroon 5’s “Girls Like You,” while “Rings” has drawn attention for its perceived hip-hop influences.

“Sunflower” rebounds 4-2 on the Hot 100 and tallies a 10th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Halsey’s “Without Me” rises 5-3 on the Hot 100, as it leads Radio Songs for a third week (100.6 million, down 1 percent), and Cardi B and Bruno Mars‘ “Please Me” dips to No. 4 from its No. 3 peak.

Rounding out the Hot 100’s top five, Post Malone ascends to the region with “Wow.” (7-5). The track surges 8-3 on Digital Song Sales (23,000, up 22 percent), winning top Sales Gainer honors on the Hot 100. Aiding the jump: a Florida man’s dance routine to the song went viral, with Post Malone offering his approval on Instagram March 7 (just ahead of the March 8-14 sales and streaming tracking week feeding the latest charts, dated March 23). “Wow.” concurrently climbs 8-6 on Radio Songs (65.9 million, up 5 percent) and returns to the Streaming Songs top 10 (12-10; 26.1 million, up 5 percent). Going forward, the song could benefit from the March 15 release of a new remix, featuring Roddy Ricch and Tyga.

Post Malone adds his fifth top five Hot 100 hit, following “Rockstar,” featuring 21 Savage (No. 1 for eight weeks in 2017); “Psycho,” featuring Ty Dolla $ign (No. 1, one week, 2018); “Better Now” (No. 3, 2018); and “Sunflower.”

After launching atop the March 16-dated Hot 100, Jonas Brothers’ “Sucker” slides to No. 6 (marking the steepest fall from No. 1 since Zayn’s “Pillowtalk” tumbled to No. 7 from the top spot in its second week in February 2016; still, the song spent its first 16 weeks on the chart in the top 10). “Sucker” drops from No. 1 to No. 2 on Digital Song Sales (30,000, down 66 percent) and 1-9 on Streaming Songs (25.2 million, down 42 percent). Conversely, “Sucker” scores the Hot 100’s top Airplay Gainer award, bounding 46-27 on Radio Songs (35.6 million, up 59 percent).

Notably, songwriter Louis Bell boasts four songs in the Hot 100’s top 10 for a second week: “Sunflower,” “Without Me,” “Wow.” and “Sucker.” That’s the most at once since Lil Wayne sported writing credits on five songs in the top 10 on the Oct. 13, 2018-dated chart (after Drake drew seven in the top 10 on July 14, also including four in the top six, like Bell this week). Among writers with no credited Hot 100 hits as an artist, Bell’s haul in the top 10 is the most in a week since Max Martin also tallied four in the tier eight years ago, on the chart dated March 26, 2011 (Katy Perry’s “E.T.,” featuring Kanye West; P!nk’s “F**kin’ Perfect”; Britney Spears’ “Till the World Ends,” featuring Nicki Minaj and Ke$ha; and Ke$ha’s “Blow.”)

Marshmello and Bastille‘s No. 2 Hot 100 hit “Happier” rises 8-7, while ruling Hot Dance/Electronic Songs for a 26th week, and J. Cole‘s No. 4-peaking Hot 100 hit “Middle Child” lifts 9-8.

Lady Gaga and Bradley Cooper’s “Shallow” falls 6-9 after leading the March 9-dated Hot 100. “Shallow” returns for an eighth week atop Digital Song Sales (34,000, down 39 percent), marking the longest reign since Drake’s “God’s Plan” also led for eight weeks last year. “Shallow” reaches another new high on Radio Songs, where it blasts 22-14 (52.3 million, up 23 percent). The ballad from A Star Is Born spent its first 17 weeks on Radio Songs between Nos. 50 and 36 before entering the top 30 for the first time on the March 9-dated chart, concurrent with its Hot 100 coronation following its Oscars win for best original song.

Capping the Hot 100’s top 10, Travis Scott’s former No. 1 “Sicko Mode” holds at No. 10 as it spends its 32nd week (encompassing its entire run on the chart) in the top 10. The song is now a week from tying the overall top 10 longevity record, held by two titles:

Most weeks in Hot 100’s top 10
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Smooth,” Santana feat, Rob Thomas, 1999-2000

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. And again, be sure to visit Billboard.com tomorrow (March 19), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (March 22).

Source: billboard.com

Plus: Maren Morris debuts in top 10 with ‘Girl.’

Juice WRLD claims his first No. 1 album on the Billboard 200 chart, as Death Race for Love debuts atop the tally. The set, which was released on March 8 via Grade A/Interscope Records, earned 165,000 equivalent album units in the week ending March 14, according to Nielsen Music. Of that sum, 43,000 were in album sales.

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 March 23-dated chart — where Death Race launches at No. 1 — will be posted in full on Billboard‘s websites on March 19.

Juice WRLD previously visited the top 10 with a pair of albums, both in 2018. WRLD on Drugs, his collaborative set with Future, debuted and peaked at No. 2 (on the Nov. 3, 2018-dated chart), while Juice WRLD’s debut studio album, Goodbye & Good Riddance, climbed to a No. 8 peak on Aug. 11.

Death Race logs both the biggest week overall, and the largest streaming week, for an R&B/hip-hop album in 2019. Of Death Race’s 165,000 equivalent album units earned in its opening frame, 120,000 were in SEA units, which translates to 176.44 million on-demand audio streams for its songs.

The last R&B/hip-hop album to tally a larger week in both units and streams was Meek Mill’s Championships, when it launched at No. 1 on the Dec. 15, 2018-dated list with 229,000 units earned, and 235.44 million on-demand audio streams.

Death Race nets the second-biggest streaming week of 2019 for any album, trailing only the debut week of Ariana Grande’s Thank U, Next (307 million on-demand audio streams, Feb. 23).

Speaking of Thank U, Next, the album holds at No. 2 on the new Billboard 200, with 72,000 equivalent album units (down 16 percent). Lady Gaga and Bradley Cooper’s A Star is Born soundtrack is also a non-mover, staying steady at No. 3 with 48,000 units (down 35 percent).

Maren Morris nets her highest-charting album yet on the Billboard 200, as Girlbows at No. 4 with 46,000 units (with 25,000 of that sum in album sales). It surpasses her previous high, logged when Hero debuted and peaked at No. 5 (June 25, 2016). Further, Morris logs the highest charting country album by a female artist in over five months. Carrie Underwood was the last female act to go higher with a country set, when Cry Pretty debuted at No. 1 on the Sept. 29, 2018-dated list.

Queen’s Bohemian Rhapsody soundtrack steps 6-5 on the new Billboard 200, earning 36,000 units (down 17 percent), while A Boogie Wit da Hoodie’s Hoodie SZNclimbs 10-6 with 34,000 units (down 3 percent).

Post Malone’s beerbongs & bentleys rebounds 11-7 with 32,000 units (down 1 percent), Gunna’s Drip or Drown 2 is stationary at No. 8 with 31,000 units (down 25 percent) and Drake’s Scorpion ascends 12-9 with 30,000 units (up less than 1 percent).

Closing out the new top 10 is Travis Scott’s Astroworld, rising 13-10 with 28,000 units (down 4 percent).

Source: billboard.com