Plus: Sam Smith and Lil Yachty debut in top 10.

TOMORROW X TOGETHER lands its first No. 1 album on the Billboard 200 albums chart, as The Name Chapter: TEMPTATION debuts atop the tally (dated Feb. 11). The five-song set earned 161,500 equivalent album units in the U.S. in the week ending Feb. 2, according to Luminate, largely driven by CD album sales

The Name Chapter: TEMPTATION is the third top 10-charting effort for the South Korean vocal group, which reached the top 10 previously in 2022 with Minisode 2: Thursday’s Child (No. 4) and in 2021 with The Chaos Chapter: Freeze (No. 5).

The Name Chapter: TEMPTATION halts the chart-topping run for SZA’s SOS, which falls to No. 2 (100,000 equivalent album units; down 10%) after spending its first seven weeks at No. 1.

Also in the top 10 of the new Billboard 200, Sam Smith achieves their fourth top 10-charting effort as Gloria debuts at No. 7, while Lil Yachty notches his third top 10 set with the No. 9 arrival of Let’s Start Here.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 11, 2023-dated chart will be posted in full on Billboard‘s website on Feb. 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of The Name Chapter: TEMPTATION’s 161,500 equivalent album units earned, album sales comprise 152,000, SEA units comprise 9,000 (equaling 13.24 on-demand official streams of the set’s five songs) and TEA units comprise 500.

The Name Chapter: TEMPTATION scores the largest sales week for any album since Taylor Swift’s Midnights debuted at No. 1 with 1.14 million copies sold on the Nov. 5, 2022-dated chart. Of The Name Chapter: TEMPTATION’s 152,000 sold, 98% were CD sales (148,500), while 2% were digital album sales (3,500). The set was not available to purchase in any other configuration (such as vinyl or cassette).

The CD configuration of The Name Chapter: TEMPTATION was issued in collectible packages (14 total, including exclusive editions for Barnes & Noble, Target and the Weverse webstore), each with a standard set of internal paper items and branded randomized mystery elements (photo cards, photo books, post cards). CD sales were also enhanced by autographed editions sold via the act’s webstore.

The Name Chapter: TEMPTATION is TOMORROW X TOGETHER’s seventh charting album on the all-genre Billboard 200, though the act has yet to reach the all-genre Billboard Hot 100 songs chart. TOMORROW X TOGETHER is the second act to top the Billboard 200 in the last year without also having previously logged a hit on the Hot 100, following fellow K-pop group Stray Kids, which notched two No. 1 albums in 2022 (ODDINARY and MAXIDENT).

The Name Chapter: TEMPTATION is recorded mostly in the Korean language, with some English lyrics. It is the 17th mostly non-English language album to hit No. 1. In 2022, there were four non-English No. 1s from BTS’ mostly-Korean Proof, Bad Bunny’s all-Spanish Un Verano Sin Ti and Stray Kids’ mostly-Korean ODDINARY and MAXIDENT. Of the 17 mostly non-English No. 1 albums, 10 have been Korean-language projects (six from BTS, two from Stray Kids, one from SuperM and one from TOMORROW X TOGETHER).

Four former No. 1s are Nos. 3-6 on the new Billboard 200, as Swift’s Midnights falls 2-3 with 68,000 equivalent album units earned (though up 1%), Metro Boomin’s Heroes & Villains rises 5-4 with 47,000 (down 12%), Drake and 21 Savage’s Her Loss climbs 6-5 with 44,000 (down 4%) and Morgan Wallen’s Dangerous: The Double Album bumps 8-6 with 42,000 (up 5%).

Sam Smith collects their fourth top 10-charting effort on the Billboard 200 as Gloria debuts at No. 7 with 39,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 30.75 million on-demand official streams of the set’s songs), album sales comprise 14,000 and TEA units comprise 2,000. Gloria was preceded by its hit single “Unholy,” a co-billed collaboration with Kim Petras, which became both artists’ first No. 1 on the Hot 100 in October.

Bad Bunny’s former leader Un Verano Sin Ti falls 7-8 on the Billboard 200 with 39,000 equivalent album units earned (down 5%).

Lil Yachty’s Let’s Start Here begins at No. 9 on the Billboard 200 with 36,000 equivalent album units earned. Of that sum, SEA units comprise 31,500 (equaling 41.34 million on-demand official streams of the set’s tracks), album sales comprise 4,500 and TEA units comprise a negligible sum. It’s the third top 10-charting effort for Lil Yachty on the Billboard 200.

Let’s Start Here is a sonic left turn for the artist, who previously charted six entries on the Top R&B/Hip-Hop Albums chart. The new project has been described by the artist as “non-rap” and as “a psychedelic alternative project.”

Rounding out the new Billboard 200’s top 10 is Zach Bryan’s American Heartbreak, falling 9-10 with 31,000 equivalent album units earned (down 4%).

Source: billboard.com

“Flowers” maintains its command in streaming and sales. Plus, David Guetta and Bebe Rexha’s “I’m Good (Blue)” takes over as the most-heard song on radio.

Miley Cyrus’ “Flowers” holds at No. 1 on the Billboard Hot 100, reigning for a second frame a week after it soared in at the summit, as it continues its dominance in both streaming and sales.

Meanwhile, David Guetta and Bebe Rexha’s “I’m Good (Blue),” at No. 6 on the Hot 100, becomes the most-heard song on radio, reaching the top of the Radio Songs chart, and JVKE scores his first Hot 100 top 10 as “Golden Hour” rises from No. 11 to No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 4, 2023) will update on Billboard.com tomorrow (Jan. 31). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Flowers,” released on Smiley Miley/Columbia Records, drew 59.8 million streams (up 14%, good for the Hot 100’s top Streaming Gainer award) and 40.8 million radio airplay audience impressions (up 22%) and sold 65,000 (down 6%) in its second full tracking week, Jan. 20-26, according to Luminate (after it arrived Jan. 12 at 7 p.m. EST).

The single spends a second week at No. 1 on both the Streaming Songs and Digital Song Sales charts and surges 18-11 on Radio Songs.

Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans recognized as her ex-husband Liam Hemsworth’s birthday. That narrative and interaction on TikTok have helped grow the profile of the song, which ushers in Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.

Propelled in part by that buzz, “Flowers” boasts the greatest weekly streaming sum since Drake’s “Way 2 Sexy,” featuring Future and Young Thug, totaled 67.3 million (Sept. 18, 2021).

“Flowers” is also the first song with consecutive weeks of 50 million or more streams in two years, since Olivia Rodrigo’s “Drivers License” arrived with 76.1 million and followed with 59.7 million (Jan. 23, 30, 2021).

Plus, with its gain from 52.6 million to 59.7 million weekly streams, “Flowers” is the first song to post at least 50 million streams in a week and gain the following frame in over three years, since Roddy Ricch’s “The Box” increased from 68.2 million to 77.2 million (Jan. 18, 25, 2020).

SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a third week, with 38 million in radio reach (up 29%), 34.1 million streams (down 2%) and 2,000 sold (down 17%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a seventh week each. The song is from her album SOS, which adds a seventh week at No. 1 on the Billboard 200.

Taylor Swift’s “Anti-Hero” repeats to No. 3 on the Hot 100, after leading for a personal-best eight weeks; Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” is steady at its No. 4 high, as it wins the chart’s top Airplay Gainer trophy (67.2 million, up 16%); and Sam Smith and Kim Petras’ “Unholy” keeps at No. 5, after it ruled for a week in October.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” holds at No. 6 on the Hot 100 after reaching No. 4, as it ascends to No. 1 on Radio Songs (85 million, up 2%). Guetta claims his first Radio Songs leader (among seven top 10s), while Rexha earns her second (among four top 10s), after “Meant To Be,” with Florida Georgia Line, dominated for five weeks in 2018. (The song that “I’m Good” prominently interpolates, Eiffel 65’s “Blue [Da Ba Dee],” hit No. 6 on Radio Songs in 2000.)

“I’m Good” tops the Pop Airplay chart for a second week and rises to No. 1 on Adult Pop Airplay, where it becomes Guetta’s first champ and Rexha’s second (likewise after “Meant To Be”). “I’m Good” leads the multi-metric Hot Dance/Electronic Songs chart for a 19th week.

The Weeknd’s “Die for You” keeps at No. 7 on the Hot 100, after hitting No. 6; Drake and 21 Savage’s “Rich Flex” is a non-mover at No. 8, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for an 11th week; and Harry Styles’ “As It Was” rebounds 10-9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history.

Rounding out the Hot 100’s top tier, JVKE achieves his first top 10, with his initial entry, as “Golden Hour” climbs 11-10 with 29.1 million in radio reach (up 4%), 14 million streams (essentially even week-over-week) and 2,000 sold (up 2%).

Released on JVKE’s eponymous independent imprint, the ballad is being promoted by Sony Music Entertainment’s AWAL label, which notches its first Hot 100 top 10. Prior to “Golden Hour,” AWAL hit a No. 27 best via Lauv’s “I Like Me Better” in 2018.

“Golden Hour” concurrently becomes the first top 10 for Rhode Island native JVKE (born Jake Lawson), who broke through thanks in part to traction on TikTok, on the Pop Airplay chart (11-10). It’s his second title to make the tally, after “This Is What Falling in Love Feels Like” reached No. 35 last July.

(Small state, big hits: Other acts to score chart success with Rhode Island origins include Bill Conti, whose Rocky theme song “Gonna Fly Now” topped the Hot 100 for a week in 1977; John Cafferty & The Beaver Brown Band, whose “On the Dark Side,” from the film Eddie and the Cruisers, rose to No. 7 in 1984; and Blu Cantrell, whose “Hit ‘Em Up Style [Oops!]” reached No. 2 in 2001.)

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 31).

Source: billboard.com

‘SOS’ is the first R&B album to spend its first seven weeks at No. 1 since Whitney Houston’s ‘Whitney’ in 1987.

SZA’s SOS racks up a seventh consecutive week at No. 1 on the Billboard 200 chart (dated Feb. 4) – the entirety of its chart run. The last album by a woman with seven weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.

SOS earned 111,000 equivalent album units in the U.S. in the week ending Jan. 26 (down 7%), according to Luminate.

Also in the top 10 of the latest Billboard 200 chart: Trippie Redd logs his seventh top 10-charting effort with the No. 3 debut of Mansion Muzik, while HARDY clocks his first top 10 with the No. 4 arrival of The Mockingbird & The Crow.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 4, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 31. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 111,000 equivalent album units earned in the week ending Jan. 26, SEA units comprise 109,500 (down 7%, equaling 148.87 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (up 37%) and TEA units comprise 500 units (down 8%).

In the last year, only three albums have spent at least seven weeks at No. 1: SOS, Bad Bunny’s Un Verano Sin Ti (13 nonconsecutive weeks) and the Encanto soundtrack (nine nonconsecutive weeks).

Here are a few statistics about SOS’ seven-week run at No. 1 on the Billboard 200:

SZA Meets Whitney in Chart History: SOS is the first R&B/hip-hop album by a woman, or R&B album by any act, to spend its first seven weeks at No. 1 since Whitney Houston’s Whitney in 1987. The latter debuted at No. 1 on the June 27, 1987-dated list and spent its first 11 weeks at No. 1 (its total run at No. 1). Whitney was the first R&B/hip-hop album by a woman, or R&B album by a woman, to debut at No. 1 on the Billboard 200 chart.

R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.

Drake’s Views was the last R&B/hip-hop set to spend its first seven weeks at No. 1 — it spent its first nine weeks at No. 1 (May 21-July 16, 2016 charts).

Most Consecutive Weeks at No. 1 in Nearly a Year: The last album, regardless of genre classification, with seven weeks in a row at No. 1 on the Billboard 200 was the Encanto soundtrack, with eight straight weeks atop the list (Jan. 29-March 19, 2022-dated charts). The Encanto soundtrack spent a total of nine weeks at No. 1, as it logged one earlier frame at No. 1 on the Jan. 15, 2022 chart.

The last album by a woman with seven consecutive weeks at No. 1 was Adele’s 25, which spent its first seven weeks at No. 1 in late 2015 and early 2016 (Dec. 12, 2015-Jan. 23, 2016). 25 spent 10 total nonconsecutive weeks at No. 1.

Most Weeks at No. 1 for an Album by a Woman Since 2020: Taylor Swift’s Folklore was the last album by a woman to score seven weeks atop the list. The album topped the list for its first six weeks (Aug. 8-Sept. 12, 2020) and then returned for two more nonconsecutive weeks (Oct. 3 and Oct. 31, 2020).

‘SOS’ Is the First Album by a Woman With its First Seven Weeks at No. 1 Since 2016: Adele’s 25 was the last album by a woman to spend its first seven weeks on the chart at No. 1. The 25 album ruled the list in its first seven weeks (Dec. 12, 2015-Jan. 23, 2016) and then logged three more later frames at No. 1, for a total of 10 nonconsecutive weeks at No. 1. (The last album with its first seven weeks at No. 1 was Morgan Wallen’s Dangerous: The Double Album, which spent it first 10 weeks at No. 1 [its total run at No. 1] from the Jan. 23-March 27, 2021-dated charts.)

Only Three Women Have Had Albums With Seven Weeks at No. 1 in the Last 20 Years: In the last two decades – from February 2003 through the latest chart – only three women have spent at least seven weeks at No. 1 on the Billboard 200 chart. Before SZA’s SOS, there was Swift’s Folklore (eight weeks, 2020), Adele’s 25 (10, 2015-16), Swift’s 1989 (11, 2014-15), Adele’s 21 (24, 2011-12) and Swift’s Fearless (11, 2008-09). Before Fearless, the last album by a woman with seven weeks at No. 1 was Alanis Morissette’s Jagged Little Pill, with 12 weeks in 1995-96.

Most Weeks at No. 1 for an R&B/Hip-Hop Album Since Drake’s ‘Views’ in 2016: The last R&B/hip-hop album with seven weeks atop the list was Drake’s Views, which spent 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). Views was also the last R&B/hip-hop set to spend its first seven weeks at No. 1 (it spent its first nine weeks at No. 1: May 21-July 16, 2016).

SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004.

At No. 2 on the new Billboard 200, Swift’s former No. 1 Midnights is a non-mover with 67,000 equivalent album units earned (down 8%). It has spent the entirety of its 14 weeks on the chart inside the top two. The last album by a woman to spend its first 14 weeks at either Nos. 1 or 2 was Swift’s own 1989, with its first 15 weeks in the top two (Nov. 15, 2014-Feb. 21, 2015).

Trippie Redd notches his seventh top 10-charting effort on the Billboard 200 as Mansion Muzik debuts at No. 3 with 56,000 equivalent album units earned. Of that sum, SEA units comprise 50,000 (equaling 68.1 million official on-demand streams of the set’s 25 tracks), album sales comprise 5,000 and TEA units comprise 1,000. Mansion Muzik is the hip-hop artist’s seventh consecutive top five-charting effort, stretching back to 2018’s Life’s a Trip, which debuted and peaked at No. 4 (Aug. 25, 2018-dated chart).

HARDY hits the top 10 of the Billboard 200 for the first time as his new double album The Mockingbird & The Crow arrives at No. 4 with 55,000 equivalent album units earned – easily his best week ever in terms of units. Of the starting sum, SEA units comprise 34,000 (equaling 44.68 million official on-demand streams of the set’s 17 tracks), album sales comprise 19,500 and TEA units comprise 1,500. The half-country/half-rock project includes guest turns from Jeremy McKinnon (of A Day To Remember), Lainey Wilson and Morgan Wallen.

The Mockingbird & The Crow marks the highest-debuting rock album since Red Hot Chili Peppers’ Return of the Dream Canteen entered at No. 3 (Oct. 29, 2022) and highest-bowing country album since Luke Combs’ Growin’ Up started at No. 2 (July 9, 2022).

Four former No. 1s are next on the Billboard 200, as Metro Boomin’s Heroes & Villains falls 3-5 (53,000 equivalent album units; down 4%), Drake and 21 Savage’s Her Loss dips 4-6 (46,000; down 4%), Bad Bunny’s Un Verano Sin Ti falls 6-7 (41,000; down 4%) and Wallen’s Dangerous: The Double Album descends 7-8 (nearly 41,000; down 2%).

Zach Bryan’s American Heartbreak falls 8-9 with 32,000 equivalent album units (though up 2%) and Lil Baby’s former No. 1 It’s Only Me slips 9-10 with 28,000 (down 5%).

Source: billboard.com

Cyrus adds her second leader, after “Wrecking Ball” in 2013. Plus, Bizarrap and Shakira launch at No. 9 with “Bzrp Music Sessions, Vol. 53.”

Miley Cyrus plants “Flowers” at No. 1 on the Billboard Hot 100 songs chart in its debut week. Her new single soars in as her second leader, after “Wrecking Ball” reigned for three weeks in 2013.

Plus, Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” blasts onto the Hot 100 at No. 9. The song marks Bizarrap’s first top 10 and Shakira’s fifth, and first since 2007.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 28, 2023) will update on Billboard.com tomorrow (Jan. 25). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Streams, airplay & sales: “Flowers,” released on Smiley Miley/Columbia Records, ran up totals of 52.6 million streams, 33.5 million radio airplay audience impressions and 70,000 sold in its first full tracking week, Jan. 13-19, according to Luminate (after it arrived Jan. 12 at 7 p.m. EST; in its first five hours, it tallied 2.4 million in radio reach, 685,000 streams and 2,000 sold).

The single launches at No. 1 on the Streaming Songs chart, surges 21-1 on Digital Song Sales and debuts at No. 18 on Radio Songs.

Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans keenly recognized as her ex-husband Liam Hemsworth’s birthday. That narrative and rabid interaction on TikTok have helped swell the profile of the song, which introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.

Cyrus’ 2nd Hot 100 No. 1: “Flowers” bounds in as Cyrus’ second Hot 100 No. 1, after “Wrecking Ball” rose to the top (after it debuted at No. 50) for three weeks beginning in September 2013.

“Flowers” is the 65th title to roar in at No. 1 in the Hot 100’s history. It’s the 1,145th leader overall, and the first new No. 1 of 2023.

Cyrus ends a break of nine years, one month and two weeks between Hot 100 No. 1s, the longest between leaders since Coldplay went 13 years, three months and two weeks from “Viva La Vida” in 2008 to “My Universe,” with BTS, in 2021.

Cyrus also adds her 11th Hot 100 top 10 and first since The Kid LAROI’s “Without You” (which she joined for a remix) hit No. 8 in May 2021. Her previous top 10s, in order of peak date, including one under her Hannah Montana alter ego: “See You Again” (No. 10, 2008); “7 Things” (No. 9, 2008); “The Climb” (No. 4, 2009); “He Could Be the One” (Hannah Montana; No. 10, 2009); “Party in the U.S.A.” (No. 2, 2009 – it debuted at that spot, marking her top start until “Flowers”); “Can’t Be Tamed” (No. 8, 2010); “We Can’t Stop” (No. 2, 2013); “Wrecking Ball”; and “Malibu” (No. 10, 2017).

Cyrus’ first Hot 100 No. 1 as a writer: Cyrus co-wrote “Flowers” with Aldae (Gregory Hein) and Michael Pollack, each of whom achieves a first No. 1 Hot 100 writing credit. Cyrus adds her sixth top 10 as a writer; Pollack, his fifth; and Aldae, his first.

Kid Harpoon and Tyler Johnson co-produced “Flowers.” They notch their third shared and total Hot 100 No. 1 each, following their work on Harry Styles’ “Watermelon Sugar” (2020) and “As It Was” (2022).

Cyrus’ streaming & sales leaders: With “Flowers,” Cyrus claims her third Streaming Songs No. 1, following “We Can’t Stop,” for 11 weeks in 2013, “Wrecking Ball” (13, 2013-14) and “Adore You” (one, 2014) – all from her album Bangerz. With 52.6 million streams, “Flowers” marks the highest weekly sum since Taylor Swift’s “Anti-Hero” started with 59.7 (Nov. 5, 2022).

Cyrus scores her third Digital Song Sales No. 1, after “Party in the U.S.A.” reigned for six weeks in 2009, and “Wrecking Ball” for one week in 2013.

Meanwhile, “Flowers” begins with multi-format radio support, as starts at No. 14 on the Adult Pop Airplay chart, No. 15 on Adult Contemporary and No. 16 on Pop Airplay – Cyrus’ highest entrance on each ranking, as is the track’s No. 18 premiere on the all-format Radio Songs chart.

‘Flowers’ deconstructed: “The underlying strength of ‘Flowers’ is that it imparts an immediate sense of familiarity, while invoking strong, universal emotions such as nostalgia, loss and empowerment,” notes Hit Songs Deconstructed, which analyzes the compositional traits of Hot 100 top 10s. “This is achieved, in part, through its classic, inspirational ’70s disco influence, à la Gloria Gaynor’s ‘I Will Survive,’ also found in Lizzo’s recent Hot 100 No. 1, ‘About Damn Time.’ “

(“Your new song carries the torch of empowerment and encourages everyone to find strength in themselves to persevere & thrive. Well done Miley!,” Gaynor praised on Twitter Jan. 19. “I love you. Thank you,” Cyrus responded.)

“Flowers” additionally, per Hit Songs Deconstructed, “shares melodic, lyrical and rhyming commonalities with the chorus in Bruno Mars’ [No. 1] 2013 hit ‘When I Was Your Man,’ which also ties in with Miley’s story.”

Babs, Neil, Posty, Swae & Miley: Cyrus’ “Flowers” blooms as the third Hot 100 No. 1 with that word in its title. Barbra Streisand and Neil Diamond’s virtual duet “You Don’t Bring Me Flowers” reigned for two weeks in December 1978 and Post Malone and Swae Lee’s “Sunflower (Spider-Man: Into the Spider-Verse)” ruled for a week in January 2019.

Some dirt on similarly-themed Hot 100 No. 1s: “Roses Are Red (My Love),” by Bobby Vinton, led in 1962; “Every Rose Has Its Thorn,” by Poison, in 1988-89; and “Kiss From a Rose,” by Seal, in 1995. (We can also give flowers to past leading acts David Rose, Rose Royce and Guns N’ Roses. And Iggy Azalea.)

SZA’s “Kill Bill” holds at its No. 2 Hot 100 high, with 34.9 million streams (up 12%), 29.4 million in radio reach (up 106%) and 2,000 sold (up 69%), boosted by the Jan. 13 arrival of a four-track single option with the song’s original, sped-up, instrumental and a cappella versions. It ranks at No. 2 on Streaming Songs after three weeks at No. 1, jumps 49-21 on Digital Song Sales and debuts at No. 26 on Radio Songs. The track tops Streaming Songs for a fourth week and Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a sixth week each. The song is from her album SOS, which adds a sixth week at No. 1 on the Billboard 200.

Taylor Swift’s “Anti-Hero” falls to No. 3 on the Hot 100 after eight weeks at the summit, having rewritten her longest reign on the chart. The song rules Radio Songs for a fifth frame (88.5 million, down 1%). Helping power its radio reach, it leads Adult Pop Airplay for a ninth week, surpassing “Shake It Off” (eight weeks at No. 1 in 2014) for her longest command at the format among her nine leaders.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” rises to No. 4, from No. 5, for a new Hot 100 high; Sam Smith and Kim Petras’ “Unholy” descends 3-5, after it topped the Oct. 29-dated chart; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” dips to No. 6 from its No. 4 best, as it leads the multi-metric Hot Dance/Electronic Songs chart for an 18th week.

The Weeknd’s “Die for You” backtracks to No. 7 from its No. 6 Hot 100 high and Drake and 21 Savage’s “Rich Flex” drops 7-8, after spending its first three weeks on the chart at its No. 2 peak beginning in November, as it tops the multi-metric Hot Rap Songs chart for a 10th week.

Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” charges onto the Hot 100 at No. 9 with 20.2 million streams, 7.9 million in airplay audience and 9,000 sold Jan. 13-19 (its first full tracking week, following its Jan. 11 release at 7 p.m. EST). The buzzworthy latest edition of the Argentine DJ/producer’s series, new at No. 3 on Streaming Songs and up 23-3 on Digital Song Sales, arrives as his first Hot 100 top 10, after “Bzrp Music Sessions, Vol. 52,” with Quevedo, hit No. 79 in October – and crowned the Billboard Global Excl. U.S. and Billboard Global 200 charts for six and four weeks, respectively.

Shakira scores her fifth Hot 100 top 10, and first since 2007, following “Whenever, Wherever” (No. 6, 2001), “Underneath Your Clothes” (No. 9, 2002), “Hips Don’t Lie,” featuring Wyclef Jean (No. 1, two weeks, 2006), and “Beautiful Liar,” with Beyoncé (No. 3, 2007). She ends a 15-year and nine-month break between top 10s, the longest outside holiday titles since Elton John waited 23 years, 11 months and two weeks between 1998 and 2022, when he returned to the tier with “Cold Heart (Pnau Remix),” with Dua Lipa.

“Vol. 53” concurrently soars to the top of the multi-metric Hot Latin Songs chart, marking Bizarrap’s first No. 1 (after “Vol. 52” became his first top 10, reaching No. 9) and Shakira’s 12th; she ties Bad Bunny for the fourth-most Hot Latin Songs No. 1s, after Enrique Iglesias (27), Luis Miguel (16) and Gloria Estefan (15).

Rounding out the Hot 100’s top 10, Harry Styles’ “As It Was” slides 8-10, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history (a list topped in part by another Cyrus).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 28), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 25).

Source: billboard.com

The set has the most weeks at No. 1 among R&B albums since Usher’s Confessions in 2004.

SZA’s SOS is No. 1 on the Billboard 200 albums chart (dated Jan. 28) for a sixth consecutive week – the entirety of its chart run. The last album by a woman with six weeks atop the list was Adele’s 30 a little over a year ago, which also spent its first six weeks on the chart at No. 1 (Dec. 4, 2021-Jan. 8, 2022-dated charts).

SOS earned 119,000 equivalent album units in the U.S. in the week ending Jan. 19 (down 4%), according to Luminate.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 28, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 25 – one day later than usual due to data processing delays. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 119,000 equivalent album units earned in the week ending Jan. 19, SEA units comprise 118,000 (down 3%, equaling 160.1 million on-demand official streams of the set’s tracks), album sales comprise a little over 500 (down 77%) and TEA units comprise 500 units (up 18%).

SOS has the most weeks at No. 1 on the Billboard 200 among R&B/hip-hop albums since Drake’s Views notched 13 nonconsecutive weeks at No. 1 in 2016, and the most weeks at No. 1 for an R&B album since Usher’s Confessions was tops for nine nonconsecutive weeks in 2004.

SOS has the most weeks at No. 1 among R&B/hip-hop or R&B albums by women since Mariah Carey’s Daydream, which notched six nonconsecutive weeks at No. 1 in late 1995 and early 1996.

And, the last R&B/hip-hop or R&B album by a woman to spend its first six weeks at No. 1 was Janet Jackson’s janet., which led the list for its first six weeks (June 5-July 10, 1993). Further, SOS is the first R&B album, from any act, to spend its first six weeks at No. 1 since janet. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)

Incredibly, in the last decade-plus, the only albums by women with six or more weeks at No. 1 have been those by Adele, Taylor Swift and SZA. The last album by a woman not named Adele, Swift or SZA to spend at least six weeks at No. 1 was Susan Boyle, who saw her debut effort I Dreamed a Dream top the list for six total weeks (Dec. 12, 2009-Jan. 16, 2010).

Since I Dreamed a Dream, eight albums by women have spent at least six weeks at No. 1, and seven of them are by Adele and Swift. They are Swift’s Speak Now (six weeks, 2010-11), Adele’s 21 (24, 2011-12), Swift’s Red (seven, 2012-13), Swift’s 1989 (11, 2014-15), Adele’s 25 (10, 2015-16), Swift’s Folklore (eight, 2020), Adele’s 30 (six, 2021-22) and SZA’s SOS (six thus far, 2022-23).

Back on the new Billboard 200, the entire top four titles are all former No. 1s and are non-movers as compared to their ranks a week ago. Swift’s Midnights is No. 2 (73,000 equivalent album units; down 10%), followed by Metro Boomin’s Heroes & Villains (56,000; down 2%) and Drake and 21 Savage’s Her Loss (47,000; down 7%).

The Weeknd’s compilation album The Highlights jumps back to the top 10, climbing 36-5 with 44,000 equivalent album units earned (up 185%). The best-of effort contains such hits as “Blinding Lights” and the resurgent “Die for You” (from The Weeknd’s studio albums After Hours and Starboy, respectively). On the new chart, the TEA and SEA units for those songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most traditional album sales in a week. (The Highlights sold nearly 1,000 copies in the latest tracking week, while After Hours and Starboy each sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours and Starboy, respectively, as they outsold The Highlights that week.

Bad Bunny’s Un Verano Sin Ti falls 5-6 (43,000 equivalent album units; down 5%) and Morgan Wallen’s Dangerous: The Double Album dips 6-7 (41,000; down 4%).

Closing out the new Billboard 200’s top 10 are Zach Bryan’s American Heartbreak (falling 7-8 with 32,000 equivalent album units earned, down 5%), Lil Baby’s chart-topping It’s Only Me (8-9 with 29,000 units; down 7%) and Harry Styles’ former leader Harry’s House (holding at No. 10 with 24,000 units; down 7%).

Source: billboard.com

Plus, SZA hits a new No. 2 career best with “Kill Bill” and Zach Bryan scores his first top 10 with “Something in the Orange.”

It’s a monster on the hill, in a good way: Taylor Swift’s “Anti-Hero” holds at No. 1 on the Billboard Hot 100 songs chart, logging an eighth total week on top. With its latest frame at No. 1, Swift rewrites her longest Hot 100 reign, surpassing the seven weeks at the summit for “Blank Space” in 2014-15.

Plus, SZA’s “Kill Bill” bumps to No. 2 on the Hot 100, a new career-high rank for the singer-songwriter, and Zach Bryan achieves his first top 10 with “Something in the Orange” at No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 21, 2023) will update on Billboard.com tomorrow (Jan. 18, a day later than usual due to the Jan. 16 Martin Luther King Jr. Day holiday). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Anti-Hero,” released on Republic Records, tallied 88.5 million radio airplay audience impressions (up 6%), 16.8 million streams (down 3%) and 7,000 sold (up 15%) Jan. 6-12, according to Luminate.

The single adds a fifth week at No. 1 on the Digital Song Sales chart (helped by 10 previously-released versions made available and discounted to 69 cents in her webstore from midday Jan. 9 through the end of Jan. 12); rules Radio Songs for a fourth week; and dips 4-5 after two weeks atop Streaming Songs.

As “Anti-Hero” tops the Hot 100 for an eighth week, Swift eclipses her previous longest command: “Blank Space” dominated for seven frames in 2014-15. Here’s a look at the weeks at No. 1 for each of her nine leaders:

Weeks at No. 1, Title, Date Reached No. 1:
8, “Anti-Hero,” Nov. 5, 2022
7, “Blank Space,” Nov. 29, 2014
4, “Shake It Off,” Sept. 6, 2014
3, “Look What You Made Me Do,” Sept. 16, 2017
3, “We Are Never Ever Getting Back Together,” Sept. 1, 2012
1, “All Too Well (Taylor’s Version),” Nov. 27, 2021
1, “Willow,” Dec. 26, 2020
1, “Cardigan,” Aug. 8, 2020
1, “Bad Blood,” feat. Kendrick Lamar, June 6, 2015

“Anti-Hero” debuted atop the Hot 100 as Swift made history as the first artist to infuse the chart’s entire top 10 in a single week, with all tracks all from her album Midnights.

SZA’s “Kill Bill” rises 3-2 for its highest Hot 100 rank yet, with 31.1 million streams (up 11%) – boosted by the Jan. 10 premiere of its official video – 14.2 million in radio reach (soaring 742%, as it’s now being promoted to and supported by pop radio, among other formats) and 1,000 sold (up 37%). It tops Streaming Songs for a third week and Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a fifth week each. The track is from her album SOS, which notches a fifth week at No. 1 on the Billboard 200.

SZA earns a new career-best Hot 100 placement, among seven top 10s; prior to “Kill Bill,” she reached a No. 3 high as featured on Doja Cat’s “Kiss Me More” in July 2021.

Sam Smith and Kim Petras’ “Unholy” slips 2-3 on the Hot 100, after it topped the Oct. 29-dated chart.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” keeps at its No. 4 Hot 100 highpoint, as it rules the multi-metric Hot Dance/Electronic Songs chart for a 17th week; Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” pushes 6-5 on the Hot 100, matching its debut and peak to-date first earned in December; and The Weeknd’s “Die for You” climbs 8-6 for a new best.

Drake and 21 Savage’s “Rich Flex” retreats 5-7 on the Hot 100, after spending its first three weeks on the chart at its No. 2 plateau beginning in November, as it tops the multi-metric Hot Rap Songs chart for a ninth week; Harry Styles’ “As It Was” descends 7-8 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history; and Steve Lacy’s “Bad Habit” holds at No. 9, after it posted three weeks at No. 1 in October. It concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 21st week each.

Rounding out the Hot 100’s top 10, Zach Bryan’s “Something in the Orange” rises 11-10, with 17.4 million streams (up 2%), 3.9 million in radio reach (up 8%) and 4,000 sold (down 6%).

The track, which Bryan wrote solo and is from his major-label debut album American Heartbreak, is his first Hot 100 top 10, after it became his first entry on the chart in May. It ties for the second-longest trip to the top 10 – 38 chart weeks – matching the journeys of Carrie Underwood’s “Before He Cheats” in 2006-07 and Nat King Cole’s “The Christmas Song (Merry Christmas to You),” the latter over a whopping 11 on-and-off runs from its 1960 debut to the latest holiday season). Just one song has taken longer to reach the top 10, by total time on the tally: Glass Animals’ “Heat Waves”: 42 weeks in 2021.

“Orange” tops the multi-metric Hot Country Songs chart for a third week. Notably, it’s the 15th No. 1 on the survey that has hit the Hot 100’s top 10 since Hot Country Songs adopted the Hot 100’s methodology in October 2012:

“Something in the Orange,” Zach Bryan, No. 10 Hot 100 peak (to-date), 2023
“You Proof,” Morgan Wallen, No. 5, 2022
“The Kind of Love We Make,” Luke Combs, No. 8, 2022
“Don’t Think Jesus,” Morgan Wallen, No. 7, 2022
“All Too Well (Taylor’s Version),” Taylor Swift, No. 1 (one week), 2021
“Fancy Like,” Walker Hayes, No. 3, 2021
“Wasted on You,” Morgan Wallen, No.  9, 2021
“I Hope,” Gabby Barrett feat. Charlie Puth, No. 3, 2020
“Forever After All,” Luke Combs, No. 2, 2020
“7 Summers,” Morgan Wallen, No. 6, 2020
“10,000 Hours,” Dan + Shay & Justin Bieber, No. 4, 2019
“Meant To Be,” Bebe Rexha & Florida Georgia Line, No.  2, 2018
“Body Like a Back Road,” Sam Hunt, No. 6, 2017
“Cruise,” Florida Georgia Line feat. Nelly, No. 4, 2013
“We Are Never Ever Getting Back Together,” Taylor Swift, No. 1 (three weeks), 2012

Just 21% of all Hot Country Songs No. 1s (15 of 76) since October 2012 have hit the Hot 100’s top 10 – although 10 of 22 Hot Country Songs leaders have peaked in the Hot 100’s top 10 since 2020 – a more-than-doubled 45% success rate in that more recent span. Plus, of the songs listed above, all four since the start of 2022 have hit the Hot 100’s top 10 largely from strong streaming and varied degrees of country radio airplay – but not crossover formats, having not appeared on any of Billboard’s pop or adult airplay charts; of the previous 11, all except one (“Forever After All”) scaled pop/adult airplay rankings.

A little more color: “Orange” brings that hue to the Hot 100’s top 10 for the first time. The previous best? Lemon Pipers’ “Jelly Jungle (Of Orange Marmalade)” hit No. 51 in 1968. In third place is another song on the current chart: Megan Moroney’s “Tennessee Orange” holds at its No. 58 high. (And to squeeze in an honorable mention, Oran ‘Juice’ Jones’ “The Rain” reached No. 9 in 1986.)

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 21), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 18).

Source: billboard.com

YoungBoy Never Broke Again clocks his 13th top 10-charting album with the debut of ‘I Rest My Case.’

SZA’s SOS spends a fifth consecutive, and total, week at No. 1 on the Billboard 200 albums chart (dated Jan. 21). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 12 (down less than 1%), according to Luminate.

Only four albums have spent at least five weeks at No. 1 since the start of 2022: in order from most recent, SOS, Taylor Swift’s Midnights (five), Bad Bunny’s Un Verano Sin Ti (13) and the Encanto soundtrack (nine).

The last R&B album by a solo woman with five weeks at No. 1 was Mariah Carey’s Daydream, which notched six nonconsecutive weeks from Oct. 21, 1995, to Jan. 13, 1996 (although, the last R&B album by an all-female act to have five weeks at No. 1 was FanMail by the trio TLC, with five nonconsecutive weeks in charge in 1999 [March 13-May 8]).

And, the last R&B album by a woman to spend its first five weeks at No. 1 was Janet Jackson’s janet., which topped the list for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Also in the new Billboard 200’s top 10, YoungBoy Never Broke Again collects his 13th top 10-charting effort, as his first release for Motown, I Rest My Case, debuts at No. 9.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 21, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 18 – one day later than usual, due to the Martin Luther King Jr. Day holiday in the U.S. on Jan. 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Five former No. 1s rank at Nos. 2-6 on the new Billboard 200 – and all are non-movers as compared to a week ago. Taylor Swift’s Midnights is No. 2 (81,000 equivalent album units earned; down 31%), followed by Metro Boomin’s Heroes & Villains (57,000; up 1%), Drake and 21 Savage’s Her Loss (51,000; down 3%), Bad Bunny’s Un Verano Sin Ti (45,000; down 10%) and Morgan Wallen’s Dangerous: The Double Album (43,000; up 2%).

Zach Bryan’s American Heartbreak climbs 8-7 with 33,000 equivalent album units earned (down less than 1%), and Lil Baby’s chart-topping It’s Only Me rises 9-8 with 31,000 (down 1%).

YoungBoy Never Broke Again notches his 13th top 10-charting album on the Billboard 200, as I Rest My Case starts at No. 9 with 29,000 equivalent album units earned. Of that sum, SEA units comprise 27,000 (equaling 39.59 million on-demand official streams of the set’s 19 tracks) and album sales and TEA units comprise 1,000 each.

I Rest My Case is the rapper’s first release for Motown after a prolific run with Atlantic, including a dozen top 10 efforts (five of which were in 2022). In total, I Rest My Case is the artist’s 28th charting title on the Billboard 200 since his debut on the list in August of 2017.

Rounding out the new top 10 is Harry Styles’ former No. 1 Harry’s House, which is stationary at No. 10 with 26,000 equivalent album units earned (down 10%).

Source: billboard.com

Plus: ATEEZ’s ‘Spin Off: From the Witness’ debuts in top 10.

SZA’s SOS makes it a month at No. 1 on the Billboard 200 chart, as the album spends a fourth straight and total week atop the list (dated Jan. 14). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 5 (down 2%), according to Luminate.

SOS is the first album by a woman to spend its first four weeks at No. 1 in a year, since Adele’s 30 ruled for its first six weeks (Dec. 4, 2021 through Jan. 8, 2022-dated charts) and is the first album by a woman to have four consecutive weeks at No. 1 since 30’s six week-run at No. 1.

SOS is also the first R&B album by a woman to have four weeks at No. 1 since February of 2008, when Alicia Keys’ As I Am notched a fourth and final nonconsecutive week atop the list (Feb. 16, 2008). More strikingly, SOS is the first R&B album by a woman to spend its first four weeks at No. 1 in nearly 30 years, since Janet Jackson’s janet. ruled for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Also in the top 10: holiday albums vacate the region (and chart) entirely after five dotted the top 10 a week ago, while ATEEZ notches its second top 10-charting album, as Spin Off: From the Witness debuts 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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 14, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 125,000 equivalent album units earned, SEA units comprise 121,500 (down 4%, equaling 162.42 million on-demand official streams of the set’s tracks), album sales comprise 3,000 (up 289%) and TEA units comprise 500 (down 7%). SOS got a sales boost following the release of two new digital album variants of the set, released late on Jan. 5 exclusively in SZA’s Top Dawg Entertainment webstore. The two versions included two bonus tracks (“PSA” and a solo version of the album’s “Open Arms”) and sold for $4.99 each, and one of them boasted alternative cover art. SZA promoted the release on her social media, including her official Twitter.

The rest of the top six on the Billboard 200 consists of former No. 1s. Taylor Swift’s Midnights is a non-mover at No. 2 (117,000 equivalent album units; up 10%). The set’s album sales grew by 7% for the week (to 58,000) following the release of four new digital album variants in Swift’s webstore for one day only on Jan. 5. Each had alternative cover art, an exclusive bonus track (a short “behind the song” commentary from Swift about one of four different songs on the album) and sold for $4.99 each. The four alternative covers, if combined, would complete a clock face image – similar to the back covers of her CD and vinyl LP variants. Swift promoted the limited-time offer in her Instagram Stories.

Metro Boomin’s Heroes & Villains rises 4-3 (57,000 equivalent album units; down 2%), Drake and 21 Savage’s Her Loss bumps 6-4 (52,000; up 4%), Bad Bunny’s Un Verano Sin Ti climbs 7-5 (50,000; up 4%) and Morgan Wallen’s Dangerous: The Double Album jumps 11-6 (42,000; up 6%).

ATEEZ collect its second top 10-charting album on the Billboard 200 as Spin Off: From the Witness debuts at No. 7. The set starts with 41,500 equivalent album units earned. Of that sum, album sales comprise 40,000; SEA units comprise 1,500 (equaling 2.11 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.

CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).

ATEEZ previously visited the top 10 with The World EP.1: Movement last June, debuting and peaking at No. 3.

Rounding out the Billboard 200’s new top 10: Zach Bryan’s American Heartbreak (22-8 with 33,000 equivalent album units; up 12%), Lil Baby’s chart-topping It’s Only Me (20-9 with 32,000; up 6%) and Harry Styles’ former No. 1 Harry’s House (19-10 with 29,000; down 4%). Bryan continues to benefit from his guest appearance in the Dec. 18 episode of the hit show Yellowstone, which has prominently featured his music in previous episodes.

Source: billboard.com

Cole returns to the Hot 100’s top 10 after a record 59-year, six-month break with his beloved “The Christmas Song.”

Even with the latest data tracking week reflecting four days after Christmas Day (Dec. 23-29), Mariah Carey’s “All I Want for Christmas Is You” holds at No. 1 on the Billboard Hot 100 songs chart, reigning for a 12th total week. It leads for a fourth week this holiday season – the most over any Yuletide season since it began topping the tally annually over the holidays in December 2019.

The song also becomes the second holiday hit to reign for four consecutive weeks, and the first in 64 years, after “The Chipmunk Song,” by David Seville & the Chipmunks, spent four frames at No. 1 beginning in December 1958.

Carey’s “Christmas” leads eight festive favorites in the Hot 100’s top 10 – with carols infusing the top seven spots for the first time. One makes its initial appearance in the tier: Nat King Cole‘s classic “The Christmas Song (Merry Christmas to You),” up from No. 11 to No. 9, as the late legend ranks in the top 10 after an unprecedented break of 59 years, six months and a week. As the song debuted on the chart in 1960, it additionally completes the longest journey to the top 10: over 62 years and three weeks.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 7, 2023) will update on Billboard.com tomorrow (Jan. 4, a day later than usual due to the New Year’s Day holiday). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Carey’s “Christmas,” on Columbia Records/Legacy Recordings, was first released on her album Merry Christmas in 1994. As streaming has grown and holiday music has become more prominent on streaming services’ playlists, the song first reached the Hot 100’s top 10 in December 2017 and first hit the top five in the 2018 holiday season, before leading over the holidays in 2019 (for three weeks), 2020 (two), 2021 (three) and this season (a single-season-best four).

Streams, airplay & sales: Carey’s “Christmas” drew 46.9 million streams (down 4%) and 24.6 million radio airplay audience impressions (down 38%) and sold 6,000 downloads (down 47%) in the U.S. Dec. 23-29, according to Luminate.

The song drops to No. 2 on the Streaming Songs chart after 18 cumulative weeks at the summit; to No. 3 on Digital Song Sales following four total frames on top; and to No. 24 from its No. 11 high on Radio Songs.

On the fourth week of ‘Christmas’ … : Up to 12 total weeks, Carey’s “Christmas” expands its record for the most time atop the Hot 100 for a holiday song. The only other seasonal single to lead, “The Chipmunk Song,” by David Seville & the Chipmunks, spent, as noted above, four weeks at No. 1 beginning in December 1958.

The two songs now share the mark for the most consecutive frames atop the Hot 100 – four each – for a Yuletide title, as well as the most in any singular holiday season.

In the fifth year of ‘Christmas’ … : With this week’s Hot 100 dated Jan. 7, 2023, Carey’s “Christmas” is the first song to lead Hot 100 charts dated in five distinct years (2019, 2020, 2021, 2022 and now 2023). No other song has reigned in more than two individual years.

Happy new year: Carey has now placed at No. 1 on the Hot 100 in a record-extending 19 distinct years (per Hot 100 chart dates): 1990-2000, 2005-06, 2008 and, thanks to “Christmas,” 2019-23.

Next up are three acts that have each spent time atop the Hot 100 in 10 individual years: Paul McCartney/Wings (1971, 1973-76, 1978, 1980, 1982-84; additionally, The Beatles, with him as a member, led in seven years: 1964-70); Michael Jackson (1972, 1979-80, 1983-84, 1987-88, 1991-92, 1995; additionally, The Jackson 5, with him in the group, led in 1970); and Madonna (1984-87, 1989-92, 1995, 2000).

Carey’s third No. 1 of 12 weeks or more: Carey becomes the second artist, and first woman, with three songs that have topped the Hot 100 for 12 or more weeks each. She joins Boyz II Men for the honor – with Carey and the group having teamed for one song contributing to the feat:

Mariah Carey:
16 weeks, “One Sweet Day,” with Boyz II Men, 1995-96
14 weeks, “We Belong Together,” 2005
12 weeks (to-date), “All I Want for Christmas Is You,” 2019-22

Boyz II Men:
13 weeks, “End of the Road,” 1992
14 weeks, “I’ll Make Love to You,” 1994
16 weeks, “One Sweet Day,” with Carey, 1995-96

“Christmas” is the 22nd title to command the Hot 100 for 12 or more weeks, a run that under just 2% of all 1,144 No. 1s have achieved.

Longest span atop the Hot 100: Carey’s “Christmas” extends the longest span from a song’s first week at No. 1 on the Hot 100 to its latest, to over three years and two weeks (Dec. 21, 2019-Jan. 7, 2023).

Plus, the latest week atop the Hot 100 for “Christmas” stretches Carey’s record for the longest span of an artist ranking at No. 1 on the chart to 32 years and five months, dating to her first week atop the list dated Aug. 4, 1990, with her debut single “Vision of Love.”

Carey’s record 91st week atop Hot 100: With “Christmas,” Carey adds her record-extending 91st week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.

Most Weeks at No. 1 on Hot 100:
91, Mariah Carey
60, Rihanna
59, The Beatles
54, Drake
50, Boyz II Men
47, Usher
43, Beyoncé
37, Michael Jackson
34, Adele
34, Elton John
34, Bruno Mars

“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the first artist to have ranked at No. 1 on the chart in four distinct decades, dating to her first week on top with “Vision of Love.” “Christmas” is additionally the only title to have led in four separate runs on the survey.

No. 1 on Holiday 100: Carey’s “Christmas” concurrently crowns the multi-metric Holiday 100 chart for a 57th week, of the chart’s 62 total weeks since the list originated in 2011. It has led the list for 42 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, keeps at its No. 2 Hot 100 high (for a ninth total week since it first reached the rank in December 2019) and tops the Streaming Songs chart, dancing merrily from No. 2, for the first time. (Its total of raw streams is the week’s second-highest – 46.87 million, just below the 46.895 million logged by Carey’s “Christmas” – but Lee’s hit leads Streaming Songs due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.) “Tree” also drew 20.9 million in airplay audience (down 29%) and sold 2,000 (down 58%).

The late Bobby Helms’ “Jingle Bell Rock,” originally released in 1957, holds at its No. 3 Hot 100 high, reached in each of the last four holiday seasons; Wham!’s “Last Christmas,” from 1984, rises to a new No. 4 best, from No. 5, after it hit the top five for the first time a week earlier; and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, retreats to No. 5 from its No. 4 peak, achieved over each of the last four Yuletide seasons.

Andy Williams’ “It’s the Most Wonderful Time of the Year,” from 1963, keeps at No. 6 on the Hot 100; it hit a No. 5 high during the 2020 holidays. The song’s latest week in the top 10 extends the late singer’s record for the longest span of an act appearing in the tier to nearly 63 years and three months, dating to his first week in the top 10 with “Lonely Street” in October 1959.

José Feliciano’s “Feliz Navidad,” from 1970, rises 8-7 on the Hot 100; it reached a No. 6 best over the 2020 holidays.

Notably, holiday hits shine like ornaments in the Hot 100’s top seven spots for the first time in the chart’s history.

Taylor Swift’s “Anti-Hero” rebounds 9-8 on the Hot 100 after spending its first six weeks on the chart at No. 1, starting in November. It concurrently leads Radio Songs for a second week, with 80.3 million in audience (up 1%).

Nat King Cole’s “The Christmas Song (Merry Christmas to You)” climbs from its prior No. 11 Hot 100 high (first reached over the 2018 holidays) to No. 9, with 27.4 million streams (down 4%), 15.5 million in airplay audience (down 30%) and 1,000 sold (down 41%).

The song, which Cole first recorded while fronting the King Cole Trio in 1946, becomes his third Hot 100 top 10, following “Ramblin’ Rose” (No. 2, 1962) and (opposite in theme from “Christmas”) “Those Lazy-Hazy-Crazy Days of Summer” (No. 6, 1963). Cole, who passed away in 1965, places in the top 10 for the first time in 59 years, six months and a week, rewriting the record for the longest break between hits in the region set last holiday season by The Ronettes, whose “Sleigh Ride” led the group back to the top 10 after a wait of 58 years and two months.

Before this week, Cole last ranked in the top 10 of the Hot 100 dated June 29, 1963. That week, Kyu Sakamoto’s “Sukiyaki” spent its third and last week at No. 1 and other enduring top 10s included Lesley Gore’s “It’s My Party” (No. 2), The Chiffons’ “One Fine Day” (No. 7) and Jan & Dean’s “Surf City” (No. 10).

(After August 1966, Cole was not credited on a Hot 100 hit until “Christmas” returned over the 2013 holidays. He was, however, heard on daughter Natalie Cole’s virtual duet with him, “Unforgettable,” which reached No. 14 in 1991 and won, among other Grammy Awards, record of the year in 1992.)

Plus, Cole’s “Christmas” wraps the longest ascent to the Hot 100’s top 10, dating to its debut on the Dec. 12, 1960, chart. Its odyssey of 62 years and 26 days narrowly surpasses that of Chuck Berry’s “Run Rudolph Run” (62 years and 18 days) for the most time a song has taken to hit the top 10 from its debut; “Rudolph” arrived in 1958 and lit up the top 10 at last over the 2020 holidays.

Source: billboard.com

Plus: Half of the top 10 are holiday albums, led by Michael Bublé’s former No. 1 ‘Christmas’

SZA’s SOS rules the Billboard 200 chart (dated Jan. 7) for a third straight and total week as the set earned 128,000 equivalent album units in the U.S. in the week ending Dec. 29 (down 29%), according to Luminate. Plus, five holiday albums populate the top 10 — the most in a year — led by Michael Bublé’s former No. 1 Christmas.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 7, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 4 (one day later than usual, due to the New Year’s Day holiday on Jan. 1). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 128,000 equivalent album units earned, SEA units comprise 126,500 (down 29%, equaling 168.73 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (down 20%) and TEA units comprise 500 (up 3%).

SOS is the first R&B album by a woman to spend three weeks at No. 1 since Beyoncé’s self-titled effort also spent its first three weeks atop the list in 2013. (R&B albums are defined as those that have hit Billboard’s Top R&B Albums chart.)

Taylor Swift’s former No. 1 Midnights is a non-mover at No. 2 with 106,000 equivalent album units (down 32%), while Bublé’s Christmas rises 5-3 with 62,000 units (down 14%). Christmas is one of five holiday albums in the top 10, the most in the region since the chart dated Jan. 2, 2022, when the top 10 also housed five festive sets.

Metro Boomin’s chart-topping Heroes & Villains is stationary at No. 4 with 58,000 equivalent album units earned (down 24%). Nat King Cole’s The Christmas Song hits a new peak, rising 7-5 with 57,000 units. It previously topped out at No. 6, first achieved on the Jan. 2, 2021-dated list.

Drake and 21 Savage’s former leader, Her Loss, holds at No. 6 with 50,000 equivalent album units earned (down 16%) and Bad Bunny’s former No. 1 Un Verano Sin Ti climbs 10-7 with 48,000 (down 9%). A Christmas Gift for You From Phil Spector climbs to a new chart high, rising 11-8 with 47,000 units (down 1%). The set had earlier plateaued at No. 10 on the Jan. 8, 2022-dated tally. Mariah Carey’s Merry Christmas is a non-mover at No. 9 with 47,000 units (down 10%) and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack falls 8-10 with 45,000 units (down 20%).

Source: billboard.com