Morgan Wallen’s Dangerous: The Double Album logs a ninth week at No. 1 on the Billboard 200 chart, all consecutively, after having arrived atop the list eight weeks ago (chart dated Jan. 23).

Dangerous now has the most weeks at No. 1 among all albums since Drake’s Views scored 13 nonconsecutive weeks at No. 1 in 2016. Dangerous is also one of just four country albums ever to spend at least nine weeks in the lead.

Dangerous earned 78,000 equivalent album units in the U.S. in the week ending March 11 (down 6%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 March 20, 2021-dated chart (where Dangerous is No. 1 for a ninth week) will be posted in full on Billboard‘s website on March 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 78,000 equivalent album units earned in the tracking week ending March 11, SEA units comprise 71,000 (down 5%, equaling 98.10 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 10%) and TEA units comprise 1,000 (down 14%). Dangerous is also the first album to string together nine weeks in a row at No. 1 since Drake’s Views also notched its first nine weeks atop the list.

Dangerous is now one of only four country albums to spend at least nine weeks at No. 1 on the Billboard 200 — since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first nine weeks on the chart at No. 1. Ahead of Dangerous among country sets with the most weeks at No. 1: Garth Brooks’ Ropin’ the Wind (18 weeks, 1991-92), Billy Ray Cyrus’ Some Gave All (17, 1992) and Taylor Swift’s Fearless (11, 2008-09).

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 3-2 on the latest Billboard 200 with 40,000 equivalent album units earned (down 4%).

Pooh Shiesty’s Shiesty Season hits a new chart peak, as the set climbs 4-3 with 32,000 equivalent album units earned (down 10%). It surpasses its previous high of No. 4, first achieved in its debut week (chart dated Feb. 20).

The Weeknd’s After Hours moves 163-4 with just under 32,000 equivalent album units earned (up 331%). Meanwhile, his best-of compilation The Highlights falls 2-16 with 24,000 units (down 54%). The two albums share a pair of songs, “Blinding Lights” and “Save Your Tears.” On the latest chart, the TEA and SEA units for both songs contribute to After Hours, as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 3,000 copies in the latest tracking week, while The Highlights sold 2,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours). In turn, with the songs’ activity reverting back to After Hours, the album rises 163-4.

Lil Durk’s The Voice is steady at No. 5 with 31,000 equivalent album units earned (down 12%), Dua Lipa’s Future Nostalgia rises 8-6 with 29,500 units (up 1%), Lil Baby’s former No. 1 My Turn is a non-mover at No. 7 with 29,000 units (down 2%) and Ariana Grande’s former leader Positions dips 6-8 with just over 28,000 units (down 13%).

Rock act Chevelle scores its fifth Billboard 200 top 10 album as Niratias debuts at No. 9 with 28,000 equivalent album units earned. Of the album’s starting sum, a little over 24,000 comprise album sales, a little more than 3,000 comprise SEA units (equaling 4.45 million on-demand streams of the songs) and a negligible sum comprises TEA units. Chevelle previously hit the top 10 with The North Corridor (No. 8 in 2016), La Gargola (No. 3, 2014), Sci-Fi Crimes (No. 6, 2009) and This Type of Thinking (Could Do Us In) (No. 8, 2004). The new album was led by the single “Self Destructor,” which rose 3-2 on the most recently published Mainstream Rock Airplay chart (dated March 13). It’s the act’s 15th top 10. Niratias gives the Billboard 200’s top 10 its first debut after a three-week drought of new arrivals.

Rounding out the latest top 10 is Luke Combs’ former chart-topper What You See Is What You Get, shifting 9-10 with nearly 28,000 units (down less than 1%).

Source: billboard.com

“Blinding Lights” is the first song to spend 52 weeks in the Hot 100’s top 10.

Olivia Rodrigo‘s “Drivers License” adds an eighth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

Meanwhile, The Weeknd‘s former leader “Blinding Lights,” at No. 3, becomes the first song in the Hot 100’s history to spend a year in the top 10, as it logs its 52nd week in the region.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 13) will update on Billboard.com tomorrow (March 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTIST MENTIONED

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader (after her debut entry, “All I Want,” reached No. 90 in January 2020). The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 19.7 million U.S. streams (down 9%) and 9,000 downloads sold (down 30%) in the week ending March 4, according to MRC Data. It also drew 73.2 million radio airplay audience impressions (up 7%) in the week ending March 7.

The track holds at its No. 2 high on the Radio Songs chart; slips 3-4 on Streaming Songs, after four weeks at No. 1; and drops 2-5 on Digital Song Sales, after three weeks at No. 1.

“License” also wins the Hot 100’s top Airplay Gainer award for a seventh consecutive week, becoming the first song to link such a streak since Pharrell’s “Happy” claimed the honor for eight straight weeks in February-March 2014.

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first eight weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Eight Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Drivers License,” Olivia Rodrigo, 2021
8 weeks, “Fantasy,” Mariah Carey, 1995

Cardi B’s “Up” keeps at its No. 2 high on the Hot 100; it debuted at the runner-up spot three weeks ago. It returns for a second week atop Streaming Songs (23.9 million, down 1%), repeats at No. 4 on Digital Song Sales (10,000, up 9%) and climbs 33-28 on Radio Songs (27.4 million, up 19%).

“Up” posts a third week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” rebounds 5-3 on the Hot 100. The smash spent four weeks at No. 1 last April-May, eventually finishing as the Hot 100’s top hit of all of 2020, and adds a record-extending 52nd week in the top 10, becoming the first song in the history of the chart (which began Aug. 4, 1958) to total a full year’s time in the top 10. After debuting at No. 11 on the chart dated Nov. 14, 2019, it reached the top 10 on Feb. 29, 2020, and has spent all but two frames in the top tier since (ranking at Nos. 11 and 18 for two weeks in December).

Here’s an updated look at the songs that have spent the most time in the Hot 100’s top 10.

Most Weeks in Billboard Hot 100’s Top 10
52, “Blinding Lights,” The Weeknd, 2020-21
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
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, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

Meanwhile, “Lights” ties for the most time totaled in the Hot 100’s top three, 21 weeks, equaling the sums of The Chainsmokers’ “Closer” and Mark Ronson’s “Uptown Funk!”

Further, “Lights” achieves a record-padding 43rd week in the Hot 100’s top five (no other song has logged more than 27 weeks in the region) and becomes one of just nine hits to have totaled at least 65 weeks on the chart overall, and the first since OneRepublic’s “Counting Stars” wrapped a 68-week run in October 2014. Imagine Dragons’ “Radioactive” spent a record 87 weeks on the Hot 100 in 2012-14.

“Lights” also notches a record-extending 48th week at No. 1 on the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” holds at No. 4 on the Hot 100, two weeks after it revisited its No. 2 peak (sparked by the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

Chris Brown and Young Thug’s “Go Crazy” dips to No. 5 from its No. 3 Hot 100 high and tallies an eighth week atop Radio Songs (74.7 million in audience, down 5%).

The Weeknd’s other current Hot 100 top 10, “Save Your Tears,” is steady at No. 6, two weeks after reaching its No. 4 high. It becomes his 11th top 10 on Radio Songs (13-10; 42.9 million, up 6%), where, to note yet another superlative, “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

24kGoldn’s “Mood,” featuring Iann Dior, is stationary at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 27th week each.

Rounding out the Hot 100’s top 10, Lil Tjay’s “Calling My Phone,” featuring 6LACK, holds at No. 8, two weeks after it launched at No. 3; Pop Smoke’s “What You Know Bout Love” re-enters the region at a new No. 9 high, up from No. 11; and Dua Lipa’s “Levitating,” featuring DaBaby, keeps at No. 10, after hitting No. 5.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 9).

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album continues to rule the Billboard 200 chart for an eighth week, all consecutively, after having bowed atop the tally seven weeks ago (chart dated Jan. 23). Dangerous is now one of only six country albums that have spent at least eight weeks in total at No. 1.

Dangerous earned 82,000 equivalent album units in the U.S. in the week ending March 4 (down 7%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 March 13, 2021-dated chart (where Dangerous is No. 1 for an eighth week) will be posted in full on Billboard‘s website on March 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 82,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 75,000 (down 7%, equaling 103.33 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 4%) and TEA units comprise 1,000 (down 13%).

Dangerous now ties Taylor Swift’s 2020 album Folklore for the second-most weeks at No. 1 on the Billboard 200 in the last five years — among albums of all genres. Each has tallied eight weeks at No. 1. Drake’s Views has the most weeks at No. 1 in the last five years, with 13 nonconsecutive weeks at No. 1 (all in 2016).

Dangerous continues to move up the list of country albums with the most weeks at No. 1 on the Billboard 200, since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first eight weeks on the chart at No. 1.

Country Albums With Most Weeks at No. 1 on Billboard 200:

Artist, Title, Weeks at No. 1 (Year[s])
Garth Brooks, Ropin’ the Wind, 18 (1991-92)
Billy Ray Cyrus, Some Gave All, 17 (1992)
Taylor Swift, Fearless, 11 (2008-09)
Garth Brooks, The Hits, eight (1995)
Eagles, Hotel California, eight (1977)
Morgan Wallen, Dangerous: The Double Album, eight to-date (2021)

For the third week in a row, no albums debut in the top 10 on the Billboard 200. The chart last housed top 10 arrivals on the Feb. 20-dated list, when Foo Fighters’ Medicine at Midnight and Pooh Shiesty’s Sheisty Season debuted at Nos. 3 and 4, respectively.

The last time the chart went without top 10 debuts for three straight weeks in January of 2019 on the Jan. 12, 19 and 26-dated charts (thanks to a quiet post-Christmas release schedule). The last time the top 10 was absent of debuts for three weeks in a row outside of the post-Christmas period was on the charts dated Dec. 16, 23 and 30, 2000 (when the chart ranked titles only by album sales, before it transitioned to a multi-metric consumption ranking in December 2014). In 2000, the only album released after Thanksgiving (Nov. 23) to bow in the top 10 was Snoop Dogg’s Tha Last Meal, which was released on Dec. 19 and debuted at No. 9 on the Jan. 6, 2001-dated chart.

Back on the new Billboard 200, The Weeknd’s compilation album The Highlights rises 12-2, matching its peak, with 52,000 equivalent album units earned (up 96%). The set includes many of the artist’s best-known hits, including “Blinding Lights” and “Save Your Tears” — both of which are also on his last studio album, 2020’s After Hours.

On the latest chart, the TEA and SEA units for both songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most sales in a week. (The Highlights sold 3,000 copies in the latest tracking week, while After Hours sold 2,000.) A week ago, the TEA and SEA for both songs were directed to After Hours (which in that frame outsold The Highlights 3,000 to 2,000). In turn, with the songs’ activity moving to The Highlights, the After Hours album moves 6-163.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is a non-mover at No. 3 with 42,000 (down 1%), Pooh Sheisty’s Sheisty Season climbs 5-4 with 36,000 (down 4%) and Lil Durk’s The Voice dips 4-5 with 36,000 (down 7%).

A pair of former No. 1s are next, as Ariana Grande’s Positions falls 2-6 with 32,000 units (down 34%) and Lil Baby My Turn rises 10-7 with 30,000 units (up 4%). Dua Lipa’s Future Nostalgia is steady at No. 8 with 29,000 units (down 2%), Luke Combs’ former chart-topper What You See Is What You Get is stationary at No. 9 with 28,000 units (down 2%) and Juice WRLD’s former leader Legends Never Die is up 11-10 with 27,000 units (down 2%).

Source: billboard.com

Brown claims his highest Hot 100 rank since 2008.

Olivia Rodrigo‘s “Drivers License” logs a seventh week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

The song also accelerates to No. 1 on the Pop Airplay radio chart.

Meanwhile, Chris Brown and Young Thug‘s “Go Crazy” vaults from No. 8 to No. 3 on the Hot 100, surpassing its prior No. 5 high, aided by a new remix.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 6) will update on Billboard.com tomorrow (March 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 21.5 million U.S. streams (down 4%) and 13,000 downloads sold (up 38%) in the week ending Feb. 25, according to MRC Data. It also drew 67.3 million radio airplay audience impressions (up 13%) in the week ending Feb. 28.

Enhancing the song’s profile in the tracking week, NBC’s Saturday Night Live aired a skit Feb. 20 in tribute to its popularity. (Rodrigo, who celebrated her birthday that day, approved of the gift.)

The track rebounds 8-2 on the Digital Song Sales chart (after three weeks at No. 1), as it wins the Hot 100’s top Sales Gainer award; pushes 5-2 on Radio Songs; and slips 2-3 on Streaming Songs (after four weeks at No. 1).

“License” also claims top Airplay Gainer honors on the Hot 100 for a sixth consecutive week, becoming the first song to link such a streak since Sia’s “Cheap Thrills,” featuring Sean Paul, in June-July 2016.

Helping power its radio surge, “License” shifts 2-1 on the Pop Airplay chart (which reflects plays on a panel of over 160 mainstream top 40 stations). The song reaches the summit in its seventh week, completing the fastest trip to the top since Ed Sheeran’s “Shape of You” (also seven weeks, in 2017).

As “License” is Rodrigo’s first Pop Airplay entry, it’s the first initial hit by an artist in a lead role to rule the chart so quickly since fun.’s “We Are Young,” featuring Janelle Monae (seven, 2012), and the first maiden entry by a soloist in a lead role in almost 18 years — since 50 Cent’s “In Da Club” (seven, 2003). No woman with lead billing had sent a first Pop Airplay entry to No. 1 as fast as Rodrigo has in nearly 20 years — since Blu Cantrell’s “Hit ‘Em Up Style (Oops!)” (seven, 2001).

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first seven weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Seven Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
7 weeks, “Drivers License,” Olivia Rodrigo, 2021

Cardi B’s “Up” jumps 5-2 on the Hot 100, returning to its highpoint where it debuted two weeks ago. It rises 3-2 on Streaming Songs (24.3 million, up 8%), 5-4 on Digital Song Sales (9,000, down 17%) and 41-33 on Radio Songs (22.8 million, up 20%).

“Up” rebounds for a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

Chris Brown and Young Thug’s “Go Crazy” soars 8-3 for a new Hot 100 high, besting its prior No. 5 peak, following the Feb. 19 release of its remix featuring Future, Lil Durk and Mulatto. The track adds a seventh week atop Radio Songs (77.6 million in audience, down 2%); blasts 50-12 on Streaming Songs (13.2 million, up 74%); and re-enters Digital Song Sales at No. 35 (3,000 sold, up 76%). (Future, Lil Durk and Mulatto are not credited on the song on the Hot 100, as the remix did not draw the majority of its activity in the tracking week.)

Brown posts his highest Hot 100 rank in over a dozen years, since “Forever” peaked at No. 2 for two weeks in summer 2008.

“Go Crazy” concurrently scores a third week atop the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” drops to No. 4 on the Hot 100, a week after it revisited its No. 2 high (when it was sparked the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

The Weeknd’s “Blinding Lights” dips 4-5 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and posts its 64th total week on the chart. It adds a record-extending 51st week in the top 10 and record-padding 42nd week in the top five.

The Weeknd boasts back-to-back hits in the Hot 100’s top 10, as “Save Your Tears” holds at No. 6, two weeks after reaching its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, keeps at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 26th week each.

Lil Tjay’s “Calling My Phone,” featuring 6LACK, falls to No. 8 on the Hot 100, a week after it launched at No. 3. It adds a second week atop Streaming Songs (25.4 million, down 25%).

Rounding out the Hot 100’s top 10, Grande’s “Positions” rises 10-9, after spending its first week on the chart at No. 1 in November, and Dua Lipa’s “Levitating,” featuring DaBaby, backtracks 9-10, after reaching No. 5.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 6), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 2).

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album makes chart history as the only country album to spend its first seven weeks at No. 1 in the 64-year history of the Billboard 200. The set rules the list for a seventh total week, all consecutive, after having debuted atop the list six weeks ago (chart dated Jan. 23).

Dangerous earned 89,000 equivalent album units in the U.S. in the week ending Feb. 25 (down 5%), according to MRC Data.

The only other country set to tally its first six weeks at No. 1 was Garth Brooks’ The Chase. It debuted at No. 1 on the Oct. 10, 1992-dated list and spent six weeks in the lead (through Nov. 14, 1992). It then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).
Dangerous and The Chase are two of only eight country albums that have spent at least seven weeks in total at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 March 6, 2021-dated chart (where Dangerous is No. 1 for a seventh week) will be posted in full on Billboard‘s website on March 2. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 89,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 80,000 (down 1%, equaling 110.79 million on-demand streams of the album’s songs), album sales comprise 7,000 (down 31%) and TEA units comprise 2,000 (down 22%).

Dangerous is one of just eight country albums that have spent at least seven weeks in total at No. 1 since the Billboard 200 began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is the only country set to spend its first seven weeks on the chart at No. 1.

Country Albums With Most Weeks at No. 1 on Billboard 200:
Artist, Title, Weeks at No. 1 (Year[s])
Garth Brooks, Ropin’ the Wind, 18 (1991-92)
Billy Ray Cyrus, Some Gave All, 17 (1992)
Taylor Swift, Fearless, 11 (2008-09)
Garth Brooks, The Hits, eight (1995)
Eagles, Hotel California, eight (1977)
Morgan Wallen, Dangerous: The Double Album, seven to-date (2021)
Taylor Swift, Red, seven (2012-13)
Garth Brooks, The Chase, seven (1992)

The last album to spend seven weeks in a row at No. 1, regardless of genre, was Drake’s Views, which spent its first nine weeks at No. 1 in 2016 (May 21-July 16-dated charts). Views spent a total of 13 nonconsecutive weeks at No. 1, all in 2016. Only three albums of any genre have spent at least seven weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13 nonconsecutive weeks, 2016).

At No. 2 on the Billboard 200, Ariana Grande’s former No. 1 Positions rises seven spots with 49,000 equivalent album units earned (up 66%). The album was reissued on Feb. 19 with five additional tracks. Pop Smoke’s Shoot for the Stars Aim for the Moon rises 4-3 with 43,000 units (up 13%).

Lil Durk’s The Voice falls 3-4 with 38,000 equivalent album units earned (down 3%), Pooh Shiesty’s Sheisty Season is a non-mover at No. 5 with 37,000 units (up less than 1%) and The Weeknd’s former No. 1 After Hours falls 2-6 with just under 37,000 units (down 13%).

BTS’ former No. 1 Be bounds 74-7 with 36,000 equivalent album units earned (up 254%) after the album was issued on Feb. 19 in a new deluxe CD package, dubbed the “essential edition.” Of the album’s units earned in the week ending Feb. 25, album sales comprise 28,000 (up 888%). No additional tracks were added to the essential edition of the album, which sells for $30.98 on BTS’ official U.S. webstore. The essential edition offers different packaging and internal paper goods (including one randomized collectible photocard) as compared to Be’s original CD release, which sold for $50.98 and had more paper goods (though none were randomized).

Dua Lipa’s Future Nostalgia slips 7-8 on the latest Billboard 200 with 30,000 equivalent album units earned (down 7%), Luke Combs’ former No. 1 What You See Is What You Get climbs 11-9 with just over 28,000 units (up 4%) and Lil Baby’s former leader My Turn bumps 13-10 with 28,000 units (up 11%).

Source: billboard.com

Plus, Ariana Grande’s “34+35” returns to its No. 2 high following the premiere of its video with Doja Cat & Megan Thee Stallion.

Olivia Rodrigo‘s “Drivers License” rolls to a sixth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far after it debuted atop the chart five weeks ago.

Ariana Grande‘s “34+35” returns to its No. 2 Hot 100 best, from No. 6, following the arrival of its official video with Doja Cat and Megan Thee Stallion.

Plus, Lil Tjay‘s “Calling My Phone,” featuring 6LACK, launches at No. 3 on the Hot 100, marking the highest career rank for each artist.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 27) will update on Billboard.com tomorrow (Feb. 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 22.4 million U.S. streams (down 19%) and 10,000 downloads sold (down 42%) in the week ending Feb. 18, according to MRC Data. It also drew 59.1 million radio airplay audience impressions (up 11%) in the week ending Feb. 21.

The track holds at No. 2 after four weeks atop the all-genre Streaming Songs chart, reaches the Radio Songs top five, pushing 7-5, and retreats 4-8 after three weeks atop Digital Song Sales.

“License” claims top Airplay Gainer honors on the Hot 100 for a fifth consecutive week, becoming the first song to achieve such a streak since Post Malone’s “Circles” in September-October 2019.

Plus, “License” is just the eighth single to have debuted at No. 1 on the Hot 100 and spent at least its first six weeks on top. It’s the first to earn the distinction for a female artist’s first No. 1 with a song on which she’s the sole billed act.

Singles to Spend First Six Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
6 weeks, “Drivers License,” Olivia Rodrigo, 2021
6 weeks, “Born This Way,” Lady Gaga, 2011

(The hit’s latest week atop the Hot 100 makes for a slightly belated birthday present for Rodrigo, as her real-life driver’s license surely reflects that she was born Feb. 20, 2003.)

Ariana Grande’s “34+35” surges 6-2 on the Hot 100 after first reaching the rank four weeks earlier, when it was sparked by the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. Now, the song returns to its high following the Feb. 12 premiere of its official video starring all three artists, and the release that day of the deluxe edition of parent album Positions.

“34+35” ascends with 60.2 million in airplay audience (up 2%), 18.1 million streams (up 35%) and 16,000 sold (up 863%), the latter two metrics good for the song’s dual wins for top Streaming and Sales Gainer on the Hot 100.

(Doja Cat and Megan Thee Stallion are not credited on the Hot 100 this week on “34+35”; they were listed in the song’s first frame at No. 2, when, unlike this week, the trio’s version drew the majority of its activity; Still, and regardless of future activity, they will remain credited in their individual chart histories on the song.)

Lil Tjay’s “Calling My Phone,” featuring 6LACK, bounds onto the Hot 100 at No. 3, after buzz for the song built via previews on TikTok. Released in full Feb. 12, it opens with 34 million streams, 1.4 million in radio reach and 3,000 sold.

Lil Tjay (born Tione Jayden Merritt) earns his first Hot 100 top 10, after reaching a prior No. 11 best as featured on Polo G’s “Pop Out” in June 2019. 6LACK (born Ricardo Valentine Jr.) also achieves his first top 10, after never before appearing in the chart’s upper half.

“Phone” rings in at No. 1 on Streaming Songs, where it’s each artist’s first leader. It also arrives as each act’s first No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” dips 3-4 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and logs its 63rd total week on the chart. It adds a record-extending and landmark 50th week in the top 10 and record-furthering 41st week in the top five. The track also claims a record-padding 47th frame atop the multi-metric Hot R&B Songs chart.

Cardi B’s “Up” drops to No. 5 a week after it debuted at No. 2 on the Hot 100, and The Weeknd’s “Save Your Tears” falls to No. 6 from its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, descends 5-7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 25th week each.

Chris Brown and Young Thug’s “Go Crazy” backtracks 7-8 on the Hot 100, after hitting No. 5, as it adds a sixth week atop Radio Songs (79.1 million in audience, down 1%).

Rounding out the Hot 100’s top 10, Dua Lipa’s “Levitating,” featuring DaBaby, slips 8-9, after reaching No. 5, and Grande’s “Positions” falls 9-10, after spending its first week on the chart at No. 1 in November.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 23).

Source: billboard.com

Plus: Dua Lipa’s ‘Future Nostalgia’ returns to top 10, after 10 months, following deluxe reissue.

Morgan Wallen’s Dangerous: The Double Album snares a sixth total week, all in a row, at No. 1 on the Billboard 200 chart (dated Feb. 27), capturing the most weeks atop the list for a male artist’s album since Drake’s Views logged 13 nonconsecutive weeks in the lead in 2016 (May 21-Oct. 8, 2016-dated charts).

Dangerous earned 93,000 equivalent album units in the U.S. in the week ending Feb. 18 (down 38%), according to MRC Data.

Dangerous bowed atop the list five weeks ago, on the chart dated Jan. 23. Only three albums have spent at least six weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13).ARTIST MENTIONED

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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. 27, 2021-dated chart (where Dangerous is No. 1 for a sixth week) will be posted in full on Billboard‘s website on Feb. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 93,000 equivalent album units earned in the tracking week ending Feb. 18, SEA units comprise 81,000 (down 24%, equaling 112.11 million on-demand streams of the album’s songs), album sales comprise 10,000 (down 74%) and TEA units comprise 2,000 (down 64%).

Among albums that have charted on both Top Country Albums and the Billboard 200 (like Dangerous), the last to earn six total weeks at No. 1 on the Billboard 200 was Swift’s Red, with seven nonconsecutive weeks atop the list in 2012-13.

Dangerous is the first country album by a man with six total weeks at No. 1 since Garth Brooks’ The Hits ruled for eight nonconsecutive weeks in 1995, and the first non-best-of country album by a man with six total weeks at No. 1 since Brooks’ The Chase net seven total weeks at No. 1 in 1992.

Dangerous is also the first country album to spend its first six weeks at No. 1 since The Chase, which ruled the list in its first six weeks. The Chase debuted at No. 1, spent six weeks in charge (Oct. 10-Nov. 14, 1992), then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).

At No. 2 on the Billboard 200, The Weeknd’s After Hours surges 37-2 with 42,000 equivalent album units earned (up 183%). It’s the first of two albums in the top 10 by The Weeknd, as his best-of package The Highlights dips 2-8 in its second week with 31,000 units (down 65%).

The two albums share a pair of songs, “Blinding Lights” and “Save Your Tears.” On the latest chart, the TEA and SEA units for both songs contribute to After Hours, as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 6,000 copies in the latest tracking week, while The Highlights sold 4,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours 10,000 to 6,000). In turn, with the songs’ activity reverting back to After Hours, the album vaults from 37-2.

With After Hours’ rise to No. 2, it lands its highest rank since the May 2, 2020-dated chart, when it fell to the runner-up spot after spending its first four weeks at No. 1.

Lil Durk’s The Voice climbs 5-3 on the Billboard 200 with 40,000 equivalent album units earned (down 20%), while Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 6-4 with 38,000 units (down 8%) and Pooh Shiesty’s Shiesty Season falls 4-5 in its second week with 37,000 units (down 40%).

Taylor Swift’s former No. 1 Evermore bumps back into the top 10 with an 11-6 rise (33,000 equivalent album units earned; up 16%). Of that sum, 12,000 are in album sales — up 70%. The album had a robust sales bump thanks to the release of the cassette edition of the album, as well as buzz and promotion generated by Swift’s Feb. 10 announcement that she would be re-recording her chart-topping 2008 Fearless album.

Dua Lipa’s Future Nostalgia surges back into the top 10 for the first time in 10 months, as the album jumps 21-7 with 32,000 equivalent album units earned (up 58%). Its big gain is owed to the album’s deluxe reissue on Feb. 12 with six additional songs, including its new radio hit “We’re Good.” The cut debuted at No. 31 on the most recently published Pop Airplay chart (dated Feb. 20). Among the other newly added songs are two earlier Pop Airplay hits that didn’t previously have a home on a Dua Lipa album: “Un Dia (One Day),” with J Balvin, Bad Bunny and Tainy, and her featured turn on Miley Cyrus’ “Prisoner.”

Future Nostalgia debuted and peaked at No. 4 on the April 11, 2020-dated chart, and has now spent a total of four weeks in the top 10.

Rounding out the rest of the top 10 on the latest Billboard 200, below The Weeknd’s The Highlights at No. 8, are two former No. 1s: Ariana Grande’s Positions (7-9 with 30,000 equivalent album units earned; down 7%) and Juice WRLD’s Legends Never Die (8-10 with 28,000 units; down 5%).

Source: billboard.com

Plus, The Weeknd scores two songs in the top five & Pop Smoke’s “What You Know Bout Love” ascends to the top 10.

Olivia Rodrigo‘s “Drivers License” dominates the Billboard Hot 100 chart for a fifth week, after soaring in at the summit four weeks ago.

Plus, Cardi B‘s “Up” blasts onto the Hot 100 at No. 2; The Weeknd doubles up in the top five following his Super Bowl LV halftime show performance, with “Blinding Lights” at No. 3 and “Save Your Tears” at No. 4; and the late Pop Smoke‘s “What You Know Bout Love” enters the top 10, rising from No. 13 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. 20) will update on Billboard.com tomorrow (Feb. 17, a day later than usual in observance of the Presidents Day holiday in the U.S. Feb 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTIST MENTIONED

“License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 27.6 million U.S. streams (down 14%) and 16,000 downloads sold (up 29%) in the week ending Feb. 11, according to MRC Data. It also drew 54.3 million radio airplay audience impressions (up 16%) in the week ending Feb. 14, as it wins the Hot 100’s top Airplay Gainer award for a fourth consecutive frame.

The track slips to No. 2 after four weeks atop the all-genre Streaming Songs chart and 3-4 after three weeks atop Digital Song Sales, while reaching the Radio Songs top 10, pushing 11-7.

“License” is just the 10th single to have debuted at No. 1 on the Hot 100 and spent at least its first five weeks on top. It’s the first to earn the distinction for a female artist’s first No. 1 with a song on which she’s the sole billed act.

Singles to Spend First Five Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
6 weeks, “Born This Way,” Lady Gaga, 2011
5 weeks, “Drivers License,” Olivia Rodrigo, 2021
5 weeks, “7 Rings,” Ariana Grande, 2019
5 weeks, “Harlem Shake,” Baauer, 2013

Cardi B’s “Up” roars onto the Hot 100 at No. 2, following its Feb. 5 release. It launches with 31.2 million streams, 14.9 million in airplay audience and 37,000 sold (digital and physical singles combined; in addition to “explicit,” “clean” and “instrumental” download options for $1.29 during the tracking week, a “limited CD single” and “alternative cover” CD single were available for purchase in Cardi B’s official webstore for $9.99 each).

The rapper/singer collects her ninth Hot 100 top 10, a sum that includes four No. 1s. She has notched at least one top 10 in each of the last five years, dating to her debut No. 1 “Bodak Yellow (Money Moves)” in 2017.

“Up” opens at No. 1 on both Digital Song Sales and Streaming Songs, where it’s Cardi B’s fifth and fourth leader, respectively. It enters Radio Songs at No. 50.

The track also premieres at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100. Cardi B achieves her sixth No. 1 on the former chart and fifth on the latter list.

After The Weeknd included portions of each song in his Super Bowl LV halftime performance Feb. 7, his “Blinding Lights” (which closed the set) holds at No. 3 on the Hot 100 and “Save Your Tears” surges 8-4, becoming his ninth top five hit. Both songs are from his latest studio LP, 2020’s After Hours (which now sports three top five hits, as “Heartless” hit No. 1 for a week in December 2019) and appear on his new hits collection The Highlights, which debuts at No. 2 on the Billboard 200.

“Lights” tallied 58.7 million in airplay audience (up 2%), 21.8 million streams (up 45%) and 30,000 sold (up 247%) in the tracking week; “Tears” earned 32.1 million in radio reach (up 14%) and 21.7 million streams (up 45%) and sold 14,000 (up 152%). The former takes top Sales Gainer honors on the Hot 100 and the latter is the chart’s top Streaming Gainer.

“Lights” spent four weeks at No. 1 on the Hot 100 last April-May (eventually finishing as the chart’s top hit of all of 2020) and logs its 62nd total week on the chart. It adds a record-extending 49th week in the top 10 and record-furthering 40th week in the top five. The track also posts a record-padding 46th frame atop the multi-metric Hot R&B Songs survey.

Rounding out the Hot 100’s top five, 24kGoldn’s “Mood,” featuring Iann Dior, dips 2-5, after eight nonconsecutive weeks at No. 1 in October through mid-January. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 24th week each.

Ariana Grande’s “34+35” descends 4-6 on the Hot 100, after reaching No. 2 three weeks earlier; Chris Brown and Young Thug’s “Go Crazy” slips 6-7, after hitting No. 5, as it adds a fifth week atop Radio Songs (81.1 million in audience, down 2%); Dua Lipa’s “Levitating,” featuring DaBaby, drops to No. 8 from its No. 5 Hot 100 high; and Grande’s “Positions” falls 7-9, after spending its first week on the chart at No. 1 in November.

Closing the Hot 100’s top 10, Pop Smoke’s “What You Know Bout Love” rises 13-10, with 43.7 million in airplay audience (up 9%), 11 million streams (down 6%) and 2,000 sold (down 5%).

The rapper appears in the Hot 100’s top 10 with a second hit, after “For the Night,” featuring Lil Baby and DaBaby, debuted at its No. 6 high last July. Both songs are from his album Shoot for the Stars Aim for the Moon, released that month. The artist born Bashar Barakah Jackson, from Brooklyn, was fatally shot at age 20 on Feb. 19, 2020, during a home invasion in Los Angeles.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 17).

Source: billboard.com

Plus: The Weeknd, Foo Fighters and Pooh Shiesty debut in top 10.

Morgan Wallen’s Dangerous: The Double Album continues to rule the Billboard 200 chart for a fifth straight week, while Wallen’s previous set, 2018’s If I Know Me, reaches the top 10 for the first time.

Dangerous earned 150,000 equivalent album units in the U.S. in the week ending Feb. 11 (up 1%), according to MRC Data. Dangerous bowed atop the list four weeks ago, on the chart dated Jan. 23. It’s just the third album to spend five weeks at No. 1 in the last 12 months, following Taylor Swift’s Folklore (eight weeks) and Lil Baby’s My Turn (five weeks). My Turn and Folklore were also the two most popular albums of 2020, according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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. 20, 2021-dated chart (where Dangerous is steady at No. 1) will be posted in full on Billboard‘s website on Feb. 17 (one day later than usual, owed to the Presidents’ Day holiday in the U.S. on Feb. 15). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 150,000 equivalent album units earned in the tracking week ending Feb. 11, SEA units comprise 107,000 (down 9%, equaling 146.38 million on-demand streams of the album’s songs), album sales comprise 37,000 (up 49%) and TEA units comprise 5,000 (down 6%).

During the new chart’s tracking week, on Feb. 10, Wallen issued a five-minute video via social media addressing the Feb. 2 emergence of an earlier video showing him using the N-word. Reaction to the Feb. 2 clip was swift – he was “suspended” from his recording contract with Big Loud Records, his music was removed from dozens of high profile playlists on streamers such as Apple Music and Spotify, and multiple radio groups dropped his music. In the tracking week that captured the initial fallout from the Feb. 2 video, Dangerous spent a fourth week at No. 1 (with a 14% gain in units earned in the week ending Feb. 4).

Among albums that charted on both Top Country Albums and the Billboard 200, the last to notch five total weeks at No. 1 on the Billboard 200 was Taylor Swift’s Red, with seven nonconsecutive weeks atop the list in 2012-13. The last country set to log its first five weeks at No. 1 was Shania Twain’s Up (Dec. 7, 2002 through Jan. 4, 2003). The last country album by a male artist to score five weeks at No. 1 on the Billboard 200 – and its first five weeks in the lead – was Garth Brooks’ Double Live in late 1998 and early 1999, which spent its first five (and total) weeks at No. 1 (Dec. 5, 1998 – Jan. 2, 1999).

While Dangerous remains at No. 1, Wallen’s previous album, 2018’s If I Know Me, reaches the top 10 for the first time, as it climbs 17-10 – surpassing its previous high of No. 13 (reached on the chart dated Aug. 20, 2020). If I Know Me rises with 29,000 equivalent album units earned in the week ending Feb. 11 (up 33%) – which also marks the album’s best weeks, in terms of units earned.

Of If I Know Me’s 29,000-unit sum, 17,000 comprise SEA units (up 12%, equaling 24.95 million on-demand streams of the songs), 10,000 comprise album sales (up 101%, the album’s best sales week yet) and 2,000 comprise TEA units (up 16%).

Back up near the top of the chart, The Weeknd’s new 18-song retrospective compilation The Highlights debuts at No. 2 (89,000 equivalent album units earned) — the highest charting greatest hits set in over a year. The last best-of to see such great heights on the chart was Blake Shelton’s Fully Loaded: God’s Country, which debuted and peaked at No. 2 on the Dec. 28, 2019-dated list.

The Highlights was released on Feb. 5, two days before The Weeknd played the Super Bowl halftime show on Feb. 7.

Of The Highlights’ 89,000-unit sum, 70,000 comprise SEA units (equaling 101.94 million on-demand streams of the songs), 10,000 comprise album sales and 9,000 comprise TEA units.

The Highlights boasts 11 of The Weeknd’s 12 top 10-charting hits on the Billboard Hot 100. Among the album’s songs are two that are also on his most recent studio album, 2020’s After Hours: “Blinding Lights” and “Save Your Tears.” The TEA and SEA units for both songs contribute to The Highlights on the chart as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 6,000 copies in the latest tracking week, while The Highlights sold 10,000. Due to the track reassignment, After Hours moves 4-37 on the Billboard 200, with 15,000 units earned – down 57%.)

In total, The Highlights is The Weeknd’s seventh top 10 album, the entirety of his charting efforts – and all of them have reached the top five of the list.

Foo Fighters fly in at No. 3 with the band’s new studio album Medicine at Midnight, marking the group’s ninth top 10. The set launches with 70,000 equivalent album units earned. Of that sum, 64,000 comprise album sales (it’s the No. 1-selling album of the week), 6,000 comprise SEA units (equaling 7.66 million on-demand streams of the set’s songs) and a negligible number comprise TEA units.

The third and final debut in the top 10 is Pooh Shiesty’s Shiesty Season, which bows at No. 4 with 62,000 equivalent album units earned. It’s the rapper’s first album release, and was led by his first Hot 100 hit, the top 40-charting “Back in Blood,” featuring Lil Durk. The 21-year-old Pooh Shiesty was previously named as one of Billboard’s 2021 Artists to Watch, and also deemed February’s Hip-Hop and R&B Rookie of the Month.

Lil Durk’s The Voice falls 2-5 with 49,000 equivalent album units earned (down 43%), while Pop Smoke’s former leader Shoot for the Stars Aim for the Moon dips 3-6 with 41,000 units (down 4%). Three more previous chart-toppers are next in the top 10, as Ariana Grande’s Positions climbs 9-7 with 32,000 units (up 14%), Juice WRLD’s Legends Never Die descends 5-8 with 30,000 units (down 2%) and Luke Combs’ What You See Is What You Get drops 6-9 with nearly 30,000 units (down 1%).

As previously noted, Wallen’s If I Know Me closes out the top 10, jumping 17-10 with 29,000 units (up 33%).

Source: billboard.com

The Weeknd’s “Save Your Tears” surges 14-8 and CJ’s “Whoopty” soars 16-10.

Olivia Rodrigo’s “Drivers License” rules the Billboard Hot 100 chart for a fourth week, after launching at the top spot three weeks ago.

Plus, two songs hit the Hot 100’s top 10 for the first time, as The Weeknd‘s “Save Your Tears” jumps from No. 14 to No. 8, becoming his 12th top 10, and CJ’s debut hit “Whoopty” climbs 16-10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 13) will update on Billboard.com tomorrow (Feb. 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The single from the singer-songwriter and actress, 17, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 32.2 million U.S. streams (down 24%) and 13,000 downloads sold (down 26%) in the week ending Feb. 4, according to MRC Data. It also drew 46.8 million radio airplay audience impressions (up 32%) in the week ending Feb. 7, as it wins the Hot 100’s top Airplay Gainer award for a third consecutive frame.

The track adds a fourth week at No. 1 on the all-genre Streaming Songs chart, drops to No. 3 after three weeks atop Digital Song Sales and charges 16-11 on Radio Songs.

Meanwhile, of the 48 singles ever to debut at No. 1 on the Hot 100, “License” is the 12th to hold at No. 1 in its first four weeks (a level that, thus, 25% of all such leaders have reached). “License” is the first to do so since Ariana Grande’s (Tom Brady theme song) “7 Rings” spent its first five weeks at No. 1 in February-March 2019.

Among artists’ first Hot 100 No. 1s, “License” is the fourth to spend its first four weeks or more on the chart at the summit, and the first by a woman and no other credited artists. It follows Baauer’s “Harlem Shake” (five, 2013), Aerosmith’s “I Don’t Want to Miss a Thing” (four, 1998) and Puff Daddy and Faith Evans’ “I’ll Be Missing You,” featuring 112, the first leader each for Evans and 112 (11, 1997).

24kGoldn’s “Mood,” featuring Iann Dior, holds at No. 2 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 23rd week each and Hot Rap Songs for a 17th frame; all three charts use the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” repeats at No. 3 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and logs its 61st total week on the chart. It adds a record-extending 48th week in the top 10 and record-furthering 39th week in the top five. The track also claims an 11th week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 45th frame atop Hot R&B Songs.

The Weeknd’s “Save Your Tears” concurrently reaches the Hot 100’s top 10 for the first time, climbing 14-8 with 28 million airplay audience impressions (up 20%), 15 million streams (up 7%) and 6,000 sold (up 6%). The song becomes The Weeknd’s 12th Hot 100 top 10, with both of his current top 10s from his latest LP, 2020’s After Hours. (The set now sports three top 10s, as “Heartless” hit No. 1 for a week in December 2019.)

Both “Lights” and “Tears” are likely to show big gains on next week’s Hot 100 (dated Feb. 20), reflecting the Feb. 5-11 sales and streaming tracking week, after The Weeknd included portions of each in his Super Bowl LV halftime performance (Feb. 7), with “Lights” closing out the hit-packed set.

Grande’s “34+35” keeps at No. 4 on the Hot 100 after reaching No. 2 two weeks earlier, when it was sparked by the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. (The latter two artists are no longer credited on the song, as Grande’s solo version has drawn the majority of its activity in the latest two tracking weeks, although the pair will remain credited in their individual chart histories on the song.)

Dua Lipa’s “Levitating,” featuring DaBaby, holds at its No. 5 Hot 100 high; Chris Brown and Young Thug’s “Go Crazy” is steady at No. 6, after hitting No. 5, as it notches a fourth week atop Radio Songs (83 million in audience, essentially even week-over-week); Grande’s “Positions” stays at No. 7, after spending its first week on the Hot 100 at No. 1 in November; and, below The Weeknd’s “Tears,” Justin Bieber’s “Holy,” featuring Chance the Rapper, descends 8-9, after it debuted at its No. 3 peak in October.

Capping the Hot 100’s top 10, CJ’s “Whoopty” whooshes 16-10, with 23.2 million in airplay audience (up 12%), 14.6 million streams (down 4%) and 7,000 sold (up 132%, aided by a 69-cent sale price in the iTunes Store).

The Staten Island, N.Y., rapper, who signed to Warner Records in January, reaches the Hot 100’s top 10 in his first visit to the chart. “There’s a lot of pressure on me, especially with coming out of Staten Island,” he recently told Billboard. “People have high expectations, since Wu-Tang [Clan] came out of there. It’s a blessing, too. I’m sticking with that and I’m running with it.”

(Note: Streams from Audiomack and Sonos Radio and Sonos Radio HD now contribute to the data that informs the Hot 100, Billboard 200, Artist 100 and Billboard Global 200 charts, as well as all other Billboard U.S. and global charts that include streaming data.)

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 9).

Source: billboard.com