Plus, The Weeknd’s “Blinding Lights” claims the record outright for the most weeks spent in the top 10.

24kGoldn‘s “Mood,” featuring Iann Dior, tallies a fifth week at No. 1 on the Billboard Hot 100 songs chart.

Billie Eilish‘s “Therefore I Am” bounds from No. 94 to No. 2 on the Hot 100 following its first full week of tracking. It also launches at No. 1 on the Streaming Songs chart.

Plus, The Weeknd‘s “Blinding Lights,” at No. 7 on the Hot 100, spends a 40th week in the top 10, breaking a tie with Post Malone’s “Circles” for the most weeks logged in the region in the chart’s 62-year history.ARTISTS MENTIONED

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 28) will update on Billboard.com tomorrow (Nov. 24). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 22.3 million U.S. streams (down 12%) and sold 8,000 downloads (down 35%) in the week ending Nov. 19, according to Nielsen Music/MRC Data. It also earned 84.5 million radio airplay audience impressions (down 1%) in the week ending Nov. 22.

The track spends a fourth week at No. 1 on the Radio Songs chart; dips to No. 2 on Streaming Songs after a week at the summit; and falls 2-5 on Digital Song Sales.

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 13th week each and Hot Rap Songs for a sixth frame (with all three charts using the same methodology as the Hot 100). The track concurrently tops the Pop Songs airplay chart for a fifth week, with 17,748 plays among the list’s reporting stations in the week ending Nov. 22, the most ever for a song dating to the chart’s 1992 inception. It rewrites the mark formerly held by Ed Sheeran’s “Shape of You” (17,707; April 15, 2017).

Billie Eilish’s “Therefore I Am” blasts from No. 94 to No. 2 on the Hot 100 following its first full week of tracking. Released Nov. 12, it debuted on the Hot 100 a week ago via 3.1 million streams and 5,000 downloads sold that day, as well as 11.7 million airplay audience impressions in its first four days, through Nov. 15. In its first full frame of measurement (as reflected on the latest, Nov. 28-dated charts), it drew 24.2 million streams and sold 14,000, while earning 18.3 million in radio audience.

The track debuts at No. 1 on the Streaming Songs chart, where it’s Eilish’s first leader; jumps 23-2 on Digital Song Sales; and enters Radio Songs at No. 43.

“Therefore I Am” is Eilish’s fourth Hot 100 top 10, following “Bad Guy,” which topped the chart dated Aug. 24, 2019; “Everything I Wanted” (No. 8, November 2019); and “My Future” (No. 6, this August).

With its 92-position vault, Eilish’s new single makes the fourth-greatest leap in the Hot 100’s history. Here’s a recap.

Greatest Position Gains in Billboard Hot 100’s History
Position rise, Title, Artist(s), Chart date
98 / No. 100 to No. 2, “Me!,” Taylor Swift feat. Brendon Urie, May 11, 2019
96 / No. 97 to No. 1, “My Life Would Suck Without You,” Kelly Clarkson, Feb. 2, 2009
95 / No. 96 to No. 1, “Womanizer,” Britney Spears, Oct. 25, 2008
92 / No. 94 to No. 2, “Therefore I Am,” Billie Eilish, Nov. 28, 2020
91 / No. 94 to No. 3, “Beautiful Liar,” Beyoncé & Shakira, April 7, 2007
90 / No. 94 to No. 4, “Girls Like You,” Maroon 5 feat. Cardi B, June 16, 2018

Meanwhile, with “Mood” at No. 1 and “Therefore I Am” at No. 2, artists born in the 2000s rank in the Hot 100’s top two spots simultaneously for the first time. 24kGoldn (real name: Golden Von Jones) was born Nov. 13, 2000, while Eilish was born Dec. 18, 2001. (When “Bad Guy” hit No. 1, Eilish became the first artist born in the 2000s to top the chart. Three artists born this millennium have now led, with Eilish and 24kGoldn joined by Jawsh 685; born, as Joshua Nanai, Nov. 5, 2002, his “Savage Love (Laxed – Siren Beat),” with Jason Derulo, paced the Oct. 17-dated chart, aided by BTS remixes.)

Ariana Grande’s “Positions” drops 2-3 on the Hot 100, after it led the Nov. 7-dated chart upon its debut, and Gabby Barrett’s “I Hope,” featuring Charlie Puth, dips from its No. 3 high to No. 4, as it dominates the multi-metric Hot Country Songs chart for a 17th week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 4-5 on the Hot 100, after debuting at its No. 2 peak, and adds a fourth week atop the multi-metric Hot R&B/Hip-Hop Songs chart (where it marks Drake’s record-setting 21st No. 1), while Justin Bieber’s “Holy,” featuring Chance the Rapper rises 7-6 on the Hot 100, after debuting at its No. 3 high.

The Weeknd’s “Blinding Lights” backtracks 5-7 on the Hot 100, after spending four weeks at No. 1. It banks a record 40th week in the top 10, breaking a tie with Post Malone’s “Circles” for the top total in the chart’s archives.

Most Weeks in Billboard Hot 100’s Top 10
40, “Blinding Lights,” The Weeknd, 2020
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

“Blinding Lights” rules the multi-metric Hot R&B Songs chart for a record-extending 36th week.

Rounding out the Hot 100’s top 10, Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, slides to No. 8 from its No. 6 high; Bad Bunny and Jhay Cortez’s “Dakiti” descends to No. 9 from its No. 8 best; and Pop Smoke’s “For the Night,” featuring Lil Baby and DaBaby, keeps at No. 10, a week after ranking in the top 10 for the first time since it debuted at No. 6 in July.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 28), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 24).

Source: billboard.com

Plus: Future and Lil Uzi Vert’s collab album ‘Pluto x Baby Pluto’ and Chris Stapleton’s ‘Starting Over’ bow at Nos. 2 and 3, Queen’s ‘Greatest Hits’ reaches the top 10 for the first time and YoungBoy Never Broke Again logs his fourth top 10 of 2020.

AC/DC’s Power Up debuts at No. 1 on the Billboard 200 albums chart, giving the legendary rock band its third chart-topping set.

The new studio effort was released via Columbia Records on Nov. 13 and starts with 117,000 equivalent album units earned in the U.S. in the week ending Nov. 19, according to Nielsen Music. AC/DC previously hit No. 1 with 2008’s Black Ice and 1981’s For Those About to Rock (We Salute You). All told, Power Up is AC/DC’s 26th charting album, and 10th top 10.

Also in the top 10, Future and Lil Uzi Vert’s first collaborative album, Pluto x Baby Pluto, debuts at No. 2, Chris Stapleton’s Starting Over enters at No. 3, Queen‘s Greatest Hits reaches the top 10 for the first time and the prolific YoungBoy Never Broke Again clocks his fourth top 10 of 2020 with the arrival of Until I Return at No. 10.ARTISTS 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 Nov. 28-dated chart (where Power Up debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 24. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Power Up’s 117,000 units earned in the tracking week ending Nov. 19, album sales comprise 111,000, SEA units comprise 5,000 (equaling 7.8 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.

Power Up charges in with the largest sales week of 2020 for a rock album. The last rock set to log a larger sales frame was Tool’s Fear Inoculum (248,000; chart dated Sept. 14, 2019).

Power Up’s sales were assisted by some retailer exclusive editions, vinyl variants and an elaborate limited edition deluxe CD package that retails for $49. (The track list across all versions of the album — CD, vinyl and digital download — is identical.)

The limited edition deluxe CD package is a pricey affair because the CD is housed in a box that features a red light-up AC/DC logo on its cover and has a built-in speaker that plays the opening bars of the album’s lead single, “Shot in the Dark.” (The company that made this deluxe set also made the similarly priced limited edition CD package for Tool’s Fear Inoculum, which was released with a 4-inch HD screen, exclusive video footage and a speaker.)

Overall, Power Up sold 71,000 on CD across all of its editions, 23,000 as a digital download album and 16,000 on vinyl LP. Power Up is the first hard rock album to hit No. 1 in over a year, since Tool’s Fear Inoculum bowed at No. 1 on the Sept. 14, 2019-dated chart.

Further, Power Up is the first Columbia release of 2020 to reach No. 1. The label last held court atop the list with Harry Styles’ Fine Line, which was released in December 2019. It ruled for two weeks (charts dated Dec. 28, 2019 and Jan. 4, 2020).

Power Up is the band’s 17th studio album and its first since 2014’s Rock or Bust and the death of founding member Malcolm Young in 2017. Power Up also brings singer Brian Johnson, drummer Phil Rudd and bassist Cliff Williams all back to the fold, alongside lead guitarist Angus Young and rhythm guitarist Stevie Young (who replaced his uncle, Malcolm, in 2014). Johnson was sidelined in 2016 (during the Rock or Bust World Tour) due to hearing loss issues, Rudd served a home-detention sentence in 2015 for methamphetamine possession and threatening to kill a former staff member and Williams announced his retirement in 2016.

Power Up was announced on Oct. 6 and was led by the single “Shot in the Dark.” The track raced to No. 1 on the Mainstream Rock Songs airplay chart dated Nov. 14 — marking the group’s fifth leader, and first No. 1 since 2008. The tune has also climbed to No. 13 on the airplay-, sales- and streaming-based Hot Rock & Alternative Songs chart.

The album was ushered in with interviews with an array of press and media outlets, including Apple Music’s Zane Lowe (Nov. 10), Associated Press (Nov. 12), USA Today (Nov. 13) and NPR’s Morning Edition (Nov. 18).

Lastly, with Power Up bowing at No. 1, AC/DC has now claimed top 10-charting albums in the 1980s, ’90s, ’00s, ’10s and ’20s. The band is the fifth act to achieve top 10s in each of the last five decades (alongside Metallica, Ozzy Osbourne, Bruce Springsteen and James Taylor) and second band or group to do so (after Metallica).

At No. 2 on the new Billboard 200, Future and Lil Uzi Vert’s first collaborative album, the surprise release Pluto x Baby Pluto, bows with 105,000 equivalent album units earned. Of that sum, 99,000 comprise SEA units (equaling 136.11 million on-demand streams of the set’s songs), 5,500 comprise album sales and a little over 500 comprise TEA units. The set was announced and released on Nov. 13, and got a mid-week bounce by the release of a deluxe edition on Nov. 17 with eight additional tracks, bringing its total track count to 24.

Pluto x Baby Pluto is the second top 10 album for Future in 2020, following his No. 1 High Off Life (May 30). As for Lil Uzi Vert, he too clocks his second top 10 of 2020, as he bowed at No. 1 with Eternal Atake on March 21.

Pluto x Baby Pluto is Future’s fourth collaborative set to chart, following joint efforts with Juice WRLD (Future & Juice WRLD Present… WRLD on Drugs, No. 2 in 2018), Young Thug (Super Slimey, No. 2 in 2017) and Drake (What a Time to Be Alive, No. 1 in 2015). Lil Uzi Vert has never released a collaborative album until now.

All told, Future has now tallied 14 top 10 albums — the most among all acts in the span since his first, Pluto, in May 2012 — while Lil Uzi Vert has three.

Chris Stapleton’s new studio album Starting Over debuts at No. 3 on the Billboard 200 with 103,000 equivalent album units earned. It’s the fourth top 10 album for the singer-songwriter, and all four have reached the top three on the tally.

Of Starting Over’s first-week units, 75,000 comprise album sales, 25,000 comprise SEA units (equaling 33.01 million on-demand streams of the set’s songs) and 3,000 comprise TEA units. The 33 million streaming number represents the second-biggest debut streaming week for a country album in 2020, following Sam Hunt’s start of 36.82 million with Southside (April 18 chart).

Outside of debut weeks in 2020, Luke Combs’ 2019 release What You See Is What You Get logged five streaming weeks larger than Stapleton in 2020, and four bigger than Hunt. What You See Is What You Get tallied 34.15 million on the May 16 chart, and then surged to a genre-record of 102.26 million on Nov. 7 (following its deluxe reissue with bonus tracks). It then continued to post big streaming numbers in the following chart weeks: 59.95 million, Nov. 14; 52.87 million, Nov. 21 and 47.93 million, Nov. 28 (the current chart).

With Power Up, Pluto x Baby Pluto and Starting Over all clearing 100,000 units in their debut frames, this is the first week in which three albums have bowed with at least 100,000 units since the Feb. 29-dated chart. That week, Justin Bieber’s Changes (231,000), A Boogie Wit da Hoodie’s Artist 2.0 (111,000) and Tame Impala’s The Slow Rush (110,000) all launched with at least 100,000 (also at Nos. 1-3, respectively).

A quartet of former No. 1s follows on the new Billboard 200, as Ariana Grande’s Positions falls 1-4 in its third week (75,000 equivalent album units; down 10%), Pop Smoke’s Shoot for the Stars Aim for the Moon dips 2-5 (53,000; down 6%), Luke Combs’ What You See Is What You Get descends 4-6 (42,000; down 8%) and Juice WRLD’s Legends Never Die is steady at No. 7 (37,000; down 7%).

With Stapleton’s Starting Over and Combs’ What You See Is What You Get Both in the top 10 at the same time, it’s the first time since Dec. 7, 2019 that two country albums have occupied the top 10 concurrently. That week, Jason Aldean’s 9 debuted at No. 2, while What You See Is What You Get sat at No. 9.

Nearly 40 years after its initial release, Queen’s Greatest Hits reaches the top 10, as the set bolts from No. 36 to No. 8 with a 133% gain in units earned (rising to 36,000). The surge is largely owed to massive vinyl sale on Nov. 14 at Walmart, where all vinyl albums in-store were marked down to $15.

In the week ending Nov. 19, Greatest Hits sold 24,000 copies across all formats (up 737%), with vinyl LPs accounting for 23,000 (up 1,006%) of that sum.

The vinyl sales were so big for Greatest Hits, it’s the top selling vinyl album in the U.S. for the week (and jumps 20-1 on Billboard’s Vinyl Albums chart) and has the second-largest sales week of 2020 for any vinyl release. It’s runner-up only to the debut frame of Tame Impala’s The Show Rush, which sold 26,000 vinyl copies on the chart dated Feb. 29.

Greatest Hits was first released in October of 1981 and has been reissued multiple times over the ensuing decades. Before this week, a 1992 edition of Greatest Hits brought the album closest to the top 10, peaking at No. 11 on Oct. 10, 1992.

Greatest Hits includes songs like “Bohemian Rhapsody” (a No. 9 Billboard Hot 100 hit in 1976, later peaking at No. 2 in 1992 thanks to its revival from its inclusion in the box office hit Wayne’s World), “Crazy Little Thing Called Love” (No. 1, 1980) and “Another One Bites the Dust” (No. 1 in 1980). Greatest Hits marks the ninth top 10 album for the band, joining the Bohemian Rhapsody soundtrack (No. 2 in 2019), Greatest Hits I, II & III: The Platinum Collection (No. 6, 2019), Classic Queen (No. 4, 1992), The Game (No. 1, 1980), Jazz (No. 6, 1979), News of the World (No. 3, 1978), A Day at the Races (No. 5, 1977) and A Night at the Opera (No. 4, 1976).

Back on the new Billboard 200, The Kid Laroi’s F*ck Love slides from its high of No. 3 to No. 9 with 35,000 equivalent album units earned (down 32%).

Closing out the top 10 is YoungBoy Never Broke Again’s new surprise mixtape Until I Return, which bows at No. 10 with 31,000 equivalent album units earned. Of Until I Return’s first-week units, 31,000 comprise SEA units (equaling 47.49 million on-demand streams of the set’s songs), 500 comprise album sales and a negligible sum comprises TEA units.

Until I Return, announced and released on Nov. 13, is YoungBoy Never Broke Again’s fourth top 10 of 2020, and sixth top 10 overall. He previously hit the region with Top (No. 1; Sept. 26), 38 Baby 2 (No. 1, May 9), Still Flexin, Still Steppin (No. 2, March 7), AI YoungBoy 2 (No. 1; Oct. 26, 2019) and Until Death Call My Name (No. 7; May 12, 2018).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” ties for the most weeks ever spent in the top 10.

24kGoldn‘s “Mood,” featuring iann dior, spends a fourth week at No. 1 on the Billboard Hot 100 songs chart. It also takes over as the most-streamed song of the week for the first time, logging its first frame atop the Streaming Songs tally.

Plus, The Weeknd‘s “Blinding Lights,” at No. 5 on the Hot 100, ties Post Malone’s “Circles” for the most weeks, 39 each, spent in the top 10 in the chart’s 62-year history.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 21) will update on Billboard.com tomorrow (Nov. 17). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and iann dior, drew 25.3 million U.S. streams (up 32%) and sold 13,000 downloads (up 86%) in the week ending Nov. 12, according to Nielsen Music/MRC Data. It also earned 85 million radio airplay audience impressions (up nearly 1%) in the week ending Nov. 15.

The track spends a third week at No. 1 on the Radio Songs chart; as noted above, tops Streaming Songs for the first time, surging from No. 6; and jumps 6-2 for a new peak on Digital Song Sales. It was helped by the Nov. 6 release of its remix with, in addition to 24kGoldn and dior, Justin Bieber and J Balvin (although neither Bieber nor J Balvin receives billing on the song on the Hot 100, as the remix did not outperform the original version in chart activity in the tracking week).

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 12th week each and Hot Rap Songs for a fifth frame. (All three charts employ the same methodology as the Hot 100.)

Ariana Grande’s “Positions” holds at No. 2 on the Hot 100 after it entered atop the Nov. 7-dated chart. It dips to No. 3 on Streaming Songs after two weeks at the summit (21.2 million, down 17%); climbs 28-21 on Radio Songs (31.6 million, up 14%); and ranks at No. 22 on Digital Song Sales (5,000).

Gabby Barrett’s “I Hope,” featuring Charlie Puth, rises 5-3 on the Hot 100, hitting a new high, as it posts a third week at No. 2 on Radio Songs (78.1 million, down 2%), after a week at No. 1; bounds 15-6 on Digital Song Sales (9,000, up 81%); and re-enters Streaming Songs at No. 30 (9.8 million, up 14%). The song gains in all metrics after Barrett and Puth performed it on the 54th annual Country Music Association Awards, broadcast on ABC on Nov. 11.

A week after “I Hope” completed the longest climb ever to the Hot 100’s top five, it wraps the longest journey to the top three: 46 weeks, surpassing the 43-week ascent of Imagine Dragons’ “Radioactive” in 2012-13. “I Hope” led the Country Airplay chart for a week in April and, aided by its Puth remix released that month, has segued to adult and pop radio (as it continues in the top 10 on the Adult Contemporary, Adult Pop Songs and Pop Songs airplay charts). It tops the multi-metric Hot Country Songs chart for a 16th week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, drops 3-4 on the Hot 100, after debuting at its No. 2 peak. It adds a third week atop the multi-metric Hot R&B/Hip-Hop Songs chart, where two weeks earlier it became Drake’s record-setting 21st No. 1.

The Weeknd’s “Blinding Lights” retreats 4-5 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 33rd week, while adding a record tying 39th week in the top 10, matching Post Malone’s “Circles.”

Most Weeks in Billboard Hot 100’s Top 10
39, “Blinding Lights,” The Weeknd, 2020
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

“Blinding Lights” concurrently rules the multi-metric Hot R&B Songs chart for a record-padding 35th week.

Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 6 Hot 100 high, from No. 7.

Justin Bieber’s “Holy,” featuring Chance the Rapper returns to the Hot 100’s top 10 (11-7), after debuting at its No. 3 high (Oct. 3). The track ascends 11-10 on Radio Songs (48.1 million, up 8%), becoming Bieber’s 16th top 10 and Chance the Rapper’s third (all in collaboration with Bieber; DJ Khaled’s “I’m the One,” featuring the pair, as well as Quavo and Lil Wayne, and “No Brainer,” by the same lineup except for Lil Wayne, reached Nos. 5 and 8 in 2017 and 2018, respectively).

Bad Bunny and Jhay Cortez’s “Dakiti” rises 9-8 in its second week on the Hot 100, as it holds at No. 2 on Streaming Songs with 22.2 million streams (essentially even week-over-week). It crowns the multi-metric Hot Latin Songs chart for a second week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” descends 6-9 on the Hot 100, after a week at No. 1, aided by BTS remixes.

Rounding out the Hot 100’s top 10, Pop Smoke’s “For the Night,” featuring Lil Baby and DaBaby, re-enters the tier (12-10) for the first time since it debuted at No. 6 on the July 18-dated chart. The song has spent all 19 of its weeks on the Hot 100 in the top 40, and this week posts its 15th frame in the top 20, as it holds at No. 5 on Streaming Songs (18.5 million down 6%) and debuts at No. 42 on Radio Songs (17.8 million, up 34%, good for the Hot 100’s top Airplay Gainer award).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 21), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 17).

Source: billboard.com

Plus: The Kid Laroi’s ‘F*ck Love’ hits new high, the late King Von gets first top 10, NAV’s ‘Emergency Tsunami’ debuts at No. 6.

Ariana Grande’s Positions spends a second week at No. 1 on the Billboard 200 albums chart, as the set earned 82,000 equivalent album units in the U.S. in the week ending Nov. 12 (down 53%), according to Nielsen Music/MRC Data. It bowed atop the list a week ago with 174,000 units earned.

It’s Grande’s second chart-topping album to spend two weeks at No. 1, following Thank U, Next, which spent a total of two weeks in the lead (its debut week, and second week – Feb. 23 and March 2, 2019). Positions is Grande’s fifth No. 1 album overall.

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 Nov. 21-dated chart (where Positions holds at to No. 1) will be posted in full on Billboard‘s website on Nov. 17. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Positions’ 82,000 units earned in the tracking week ending Nov. 12, SEA units comprise 73,000 (down 43%, equaling 99.5 million on-demand streams of the album’s songs), 8,000 comprise album sales (down 81%) and 1,000 comprise TEA units (down 61%).

Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon rises 3-2 with 57,000 equivalent album units earned (down 5%). With Positions and Shoot for the Stars both released via Republic Records, the company holds the top two for the eighth time in the last three months. (Shoot for the Stars was released via Victor Victor Worldwide/Republic Records.)

The Kid Laroi hits a new high on the Billboard 200, as his F*ck Love album surges to a new peak of No. 3 (up from No. 81 a week ago), following the set’s deluxe reissue on Nov. 6 with seven bonus tracks (including tunes featuring YoungBoy Never Broke Again, Marshmello and Machine Gun Kelly). For tracking and charting purposes, all versions of the album are combined, and the set earned 52,000 equivalent album units in the week ending Nov. 12 (up 458%) — a new one-week high for the artist and the album. The original 15-track album was released on July 24 and debuted at No. 8 on the Aug. 8-dated chart with 40,000 units. Both the No. 8 debut and the 40,000 units represented high-water marks for the artist until this week.

Luke Combs’ former No. 1 What You See Is What You Get is a non-mover at No. 4 on the new Billboard 200, with 46,000 equivalent album units earned (down 12%).

King Von’s Welcome to O’Block surges into the top 10, rising 13-5 in its second chart week, following the rapper’s death on Nov. 6 (the first day of the latest chart’s tracking week). The set earned 44,000 equivalent album units in the week ending Nov. 12 (up 69%). The album bowed on the chart a week ago with 26,000 units. Welcome to O’Block is the first top 10 for the late artist (born Dayvon Daquan Bennett), who died at 26 after being shot in an Atlanta nightclub.

NAV tallies his fourth top 10 album, as his mixtape Emergency Tsunami storms in at No. 6 with 42,000 equivalent album units earned. He previously visited the region with Good Intentions (No. 1 this May 23), Bad Habits (No. 1; April 6, 2019) and Reckless (No. 8; June 2, 2018). Of Emergency Tsunami’s starting sum, 35,000 comprise SEA units (equaling 46.4 million on-demand streams of the set’s songs), 7,000 comprise album sales and a negligible figure comprises TEA units.

Juice WRLD’s Legends Never Die falls one rung to No. 7 (39,000 equivalent album units; down 1%), Lil Baby’s My Turn is steady at No. 8 (33,000; down 5%), the original Broadway cast recording of Hamilton: An American Musical rises a spot to No. 9 (31,000; up 5%) and Taylor Swift’s Folklore jumps 27-10 (29,000; up 52%) thanks to a surge in vinyl album sales from Swift’s official webstore. The set sold 14,000 copies across all formats for the week (up 309%), with vinyl albums comprising 9,000 of that sum. The vinyl edition of the album has been available to order since Folklore was released on July 24, but its manufacturing and shipment was delayed. (Sales of physical albums only count once they are fulfilled to the customer.)

Source: billboard.com

Plus, Gabby Barrett & Charlie Puth’s “I Hope” completes the longest rise ever to the top five.

24kGoldn‘s “Mood,” featuring iann dior, rebounds from No. 3 to No. 1 for a third total week atop the Billboard Hot 100 songs chart.

Gabby Barrett‘s “I Hope,” featuring Charlie Puth, rises 6-5 in its 45th week on the Hot 100, wrapping the longest journey to the top five in the chart’s history.

Ariana Grande‘s “34+35” debuts at No. 8 on the Hot 100. The song joins her single “Positions,” which debuted at No. 1 a week ago and this week dips to No. 2, as her new album Positions, which includes both songs, launches at No. 1 on the Billboard 200 chart.

Plus, Bad Bunny and Jhay Cortez bound onto the Hot 100 at No. 9 with “Dakiti.”

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 14) will update on Billboard.com tomorrow (Nov. 10). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and iann dior, drew 19.2 million U.S. streams (essentially even week-over-week) and sold 7,000 downloads (down 10%) in the week ending Nov. 5, according to Nielsen Music/MRC Data. It also tallied 84.2 million radio airplay audience impressions (up 7%) in the week ending Nov. 8.

The track spends a second week at No. 1 on the Radio Songs chart, holds at No. 6 on Streaming Songs and rises 10-6 on Digital Song Sales. (It should sport further gains on next week’s charts, dated Nov. 21, following the Nov. 6 release of its remix featuring Justin Bieber, J Balvin and dior.)

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for an 11th week each and Hot Rap Songs for a fourth frame. (All three charts employ the same methodology as the Hot 100.)

Grande’s “Positions” descends to No. 2 on the Hot 100 after it entered atop the Nov. 7-dated chart. It spends a second week at No. 1 on Streaming Songs (25.6 million, down 28%) and jumps 41-28 on Radio Songs (27.5 million, up 40%), good for the Hot 100’s top Airplay Gainer award.

(A week ago, as “Positions” premiered at No. 1 on the Hot 100, Grande extended her record streak of having debuted the lead single from each of her first six proper studio albums in the top 10. “The Way,” featuring Mac Miller, opened at No. 10, ushering in her first album, Yours Truly, in 2013; “Problem,” featuring Iggy Azalea, began at No. 3 as the first single from 2014’s My Everything; the title track from Dangerous Woman bowed at No. 10 in 2016; “No Tears Left to Cry” started at No. 3, introducing Sweetener, in 2018; and the Thank U, Next title cut roared in as her first No. 1 in 2018.)

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, rises 4-3 on the Hot 100, after debuting at its No. 2 peak. It adds a second frame atop the multi-metric Hot R&B/Hip-Hop Songs chart, where a week earlier it became Drake’s record-setting 21st No. 1.

The Weeknd’s “Blinding Lights” lifts 5-4 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 32nd week, while adding a 38th week in the top 10, the second-most ever, after Post Malone’s “Circles” (39 weeks, 2019-20). “Lights” leads the multi-metric Hot R&B Songs chart for a record-furthering 34th week.

Gabby Barrett’s “I Hope,” featuring Charlie Puth, ascends 6-5 on the Hot 100, completing the longest climb ever to the top five: 45 weeks.

Longest Climbs to Hot 100’s Top Five
Weeks to Top Five, Title, Artist(s), Date Reached Top Five
45, “I Hope,” Gabby Barrett feat. Charlie Puth, Nov. 14, 2020
42, “Radioactive,” Imagine Dragons, June 29, 2013
34, “Cruise,” Florida Georgia Line feat. Nelly, June 8, 2013
30, “Jingle Bell Rock,” Bobby Helms, Jan. 4, 2020
30, “Rockin’ Around the Christmas Tree,” Brenda Lee, Dec. 21, 2019
30, “All I Want for Christmas Is You,” Mariah Carey, Jan. 5, 2019
30, “Amazed,” Lonestar, Feb. 26, 2000

Notably, the songs above have followed distinct patterns in their scenic trips to the Hot 100’s top five, with “I Hope,” “Cruise” and “Amazed” all having become country radio hits before crossing to pop formats. “I Hope” led the Country Airplay chart for a week in April and, aided by its Puth remix released that month, has segued to adult and pop radio (as it leads Adult Pop Songs for a fourth week and continues in the top 10 on Pop Songs and on Adult Contemporary).

Imagine Dragons’ “Radioactive,” the former record holder with its 42-week journey to the Hot 100’s top five, similarly crossed over from rock to pop formats.

Meanwhile, the Yuletide hits above reached the region over multiple chart runs, with strong streaming sums having aided their rises in recent years (including Mariah Carey’s coronation with 1994’s “All I Want for Christmas Is You” last holiday season).

“I Hope” concurrently tops the multi-metric Hot Country Songs chart for a 15th week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” rebounds 8-6 on the Hot 100, after a week at No. 1, aided by BTS remixes, and Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 7 high from No. 9.

Grande’s “34+35” debuts at No. 8 on the Hot 100 with 21.7 million streams, 5.7 million airplay audience impressions and 3,000 sold in the tracking week.

Grande’s “Positions” and “34+35” are both being promoted as radio singles by Republic Records, with the tracks climbing 18-15 and debuting at No. 32, respectively, on Pop Songs.

Grande adds her 18th total Hot 100 top 10 dating to her first, “The Way.” Since that song debuted at No. 10 on April 13, 2013 (before peaking at No. 9 that June), her 18 top 10s are the most among women and second only to Drake’s 31 among all acts in that span.

Bad Bunny and Jhay Cortez charge onto the Hot 100 at No. 9 with “Dakiti,” with 22.2 million streams, 3.2 million in airplay audience and 5,000 sold in the tracking week. As it concurrently starts at No. 1 on the multi-metric Hot Latin Songs chart, it’s the first title ever to have entered the Hot 100 in the top 10 and launched atop Hot Latin Songs simultaneously.

“Dakiti” is Bad Bunny’s third Hot 100 top 10, all of which have debuted in the tier. It follows his Cardi B and J Balvin team-up “I Like It,” which began at No. 8 and spent a week at No. 1, and “MIA,” featuring Drake (No. 5 debut and peak), both in 2018.

“MIA” and now “Dakiti” are the only all-Spanish-language songs ever to have debuted in the Hot 100’s top 10.

Cortez, meanwhile, earns his first Hot 100 top 10.

Rounding out the Hot 100’s top 10, Cardi B’s “WAP,” featuring Megan Thee Stallion, descends 7-10, after four weeks at No. 1.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 14), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 10).

Source: billboard.com

It’s her third No. 1 in less than two years and three months — the fastest accumulation of three No. 1 proper studio albums ever by a woman.

Ariana Grande achieves her fifth No. 1 album on the Billboard 200 chart, as her latest studio effort, Positions, debuts atop the tally. The set was released on Oct. 30 by Republic Records and launches with 174,000 equivalent album units earned in the U.S. in the week ending Nov. 5, according to Nielsen Music/MRC Data.

Positions is Grande’s third No. 1 album in less than two years and three months — the fastest accumulation of three No. 1 proper studio albums ever by a woman. More on that in a moment.

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 Nov. 14-dated chart (where Positions bows at to No. 1) will be posted in full on Billboard‘s website on Nov. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Positions’ 174,000 units earned in the tracking week ending Nov. 5, SEA units comprise 129,000 (equaling 173.54 million on-demand streams of the album’s songs), 42,000 comprise album sales and 3,000 comprise TEA units.

It’s worth noting that Positions’ album sales sum of 42,000 is not aided by either merchandise/album bundles or concert ticket/album sale redemption offers. In the past, Grande’s album sales — like many other artists’ albums — have benefitted from both sorts of offers. Merchandise/album bundles and ticket/album bundles both ceased to count towards chart sales as of Oct. 9.

In terms of overall equivalent album units earned, Positions has the highest one-week total for an album since bundles stopped factoring into chart and sales rankings.

Positions’ streaming start of 173.54 million clicks is the second-largest streaming week for a non-R&B/hip-hop or Latin album in 2020. Only Taylor Swift’s Folklore managed a larger streaming sum this year, in its debut week, among non-R&B/hip-hop and Latin titles, with 289.85 million streams.

The Positions album arrived with little advance notice and was first teased by Grande on Oct. 14, when she stated a new album was due out by the end of October. Grande is the latest female pop star to spring a No. 1 album on the public with little notice, following Swift, who announced her Folklore album on July 23, the day before it was released. Like Positions, Folklore also debuted at No. 1.

Positions was led by its title track as its first single, which debuted at No. 1 on the Billboard Hot 100 songs chart dated Nov. 7 (marking her fifth Hot 100 No. 1, and record-extending fifth No. 1 debut).

Grande first reached No. 1 on the Billboard 200 chart with her debut album, Yours Truly, which opened at No. 1 on the Sept. 21, 2013-dated chart. She followed it with My Everything (Sept. 13, 2014), Sweetener (Sept. 1, 2018), Thank U, Next (Feb. 23, 2019; it’s her only set to lead for two weeks to-date) and now Positions (Nov. 14, 2020, chart).

Grande’s three most recent No. 1s have all come within the last two years and two and-a-half months. That’s the fastest accumulation of three No. 1s by a female artist in more than a decade — since Miley Cyrus accrued a trio of No. 1s in one year and nearly 10 months, between July 14, 2007, and May 2, 2009. Cyrus did it with Hannah Montana 2 (Soundtrack)/Meet Miley Cyrus (July 14, 2007), Breakout (Aug. 9, 2008) and the Hannah Montana: The Movie soundtrack (May 2, 2009).

If one set aside artist-credited soundtracks, the last woman to notch three No. 1s faster than Grande was Donna Summer, who scored her three total No. 1s in just one year and two months — over 40 years ago. Summer first hit No. 1 with Live and More (Nov. 11, 1978), and followed it with Bad Girls (June 16, 1979) and On the Radio: Greatest Hits Volumes I & II (Jan. 5, 1980).

Summer’s three No. 1s were a live album (with a couple new studio recordings as bonus tracks), a studio project and a greatest hits set, respectively. Grande, however, has claimed her three latest leaders all via proper studio albums. No woman in the history of the Billboard 200 chart, which began publishing on a regular weekly basis in March of 1956, has claimed three No. 1 proper studio albums faster than Grande.

Among male artists, the last act to tally three No. 1s in a shorter amount of time was rapper YoungBoy Never Broke Again just a few months ago. He scored his three total No. 1s in less than a year with AI YoungBoy 2, 38 Baby 2 and Top, between Oct. 26, 2019 and Sept. 26, 2020.

Among groups, most recently BTS has logged all four of its No. 1 albums in less than two years. The group first led the chart with Love Yourself: Tear, and followed it with Love Yourself: Answer, Map of the Soul: Persona and Map of the Soul: 7, all between June 2, 2018 and March 7, 2020.

At No. 2 on the new Billboard 200, rapper Trippie Redd keeps up his prolific pace, as he logs his fifth top five-charting album in a little over two years. His latest release Pegasus flies in at No. 2 with 60,000 equivalent album units earned. Of that sum, 56,000 comprise SEA units (totaling 79.22 million on-demand streams of the set’s songs), 4,000 comprise album sales and a negligible number total TEA units.

Since Trippie Redd achieved his first top five charting set with Life’s a Trip on Aug. 25, 2018, no other act has claimed five top five efforts. Since Life’s a Trip, he added top five sets with A Love Letter to You 3 (No. 3, Nov. 24, 2018), ! (No. 3, Aug. 24, 2019), A Love Letter to You 4 (No. 1, Dec. 7, 2019) and now Pegasus (Nov. 14, 2020).

Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon holds at No. 3 with 60,000 equivalent album units (down 3 percent), while Luke Combs’ What You See Is What You Get falls 1-4 with 52,000 units (down 52 percent).

Sam Smith nabs their third consecutive top five album in a row, as Love Goes debuts at No. 5 with 41,000 equivalent album units. Of that figure, 22,000 comprise SEA units (equaling 29.66 million on-demand streams of the album’s songs), 18,000 comprise album sales and 1,000 comprise TEA units.

Smith collected their first top five effort with full-length debut album In the Lonely Hour, which peaked at No. 2 on July 5, 2014. Their second album, The Thrill of It All, debuted at No. 1 on the Nov. 25, 2017-dated chart.

Juice WRLD’s former No. 1 Legends Never Die descends 5-6 with 40,000 equivalent album units earned (down 5 percent).

After more than a decade away from the Billboard 200, Busta Rhymes returns to the list, as his new studio album ELE 2: The Wrath of God bows at No. 7 with 38,000 equivalent album units. Of that sum, 20,000 comprise SEA units (totaling 27.78 million on-demand streams of the album’s songs), 17,000 comprise album sales and 1,000 comprise TEA units. The hip-hop veteran last debuted on the list, and was last in the top 10, with Back on My B.S., which debuted and peaked at No. 5 on the June 6, 2009-dated chart.

The new album is a guest-laden affair, boasting featured turns from Kendrick Lamar, Mary J. Blige, Mariah Carey, Eminem and more.

In total, Rhymes has now claimed seven top 10s, stretching back to his debut set, The Coming, which peaked at No. 6 on April 13, 1996. Among his seven top 10s is one No. 1, The Big Bang (July 1, 2006).

Lil Baby’s former leader My Turn falls one rung to No. 8 on the new Billboard 200, with 35,000 equivalent album units (down less than 1 percent).

R&B singer Queen Naija sees her debut full-length studio album Missunderstood bow at No. 9 with 34,000 equivalent album units earned. Of that sum, 24,000 comprise SEA units (totaling 33.87 million on-demand streams of the set’s songs), 9,000 comprise album sales and a negligible figure totals TEA units.

Closing out the new top 10 is the original Broadway cast recording of Hamilton: An American Musical, which falls 8-10 with 30,000 equivalent album units earned (up less than 1 percent).

Source: billboard.com

Both songs make history upon their entrances.

Ariana Grande‘s “Positions” debuts at No. 1 on the Billboard Hot 100 songs chart, while Luke Combs‘ “Forever After All” bounds in at No. 2.

Grande earns her fifth Hot 100 leader and extends her record for the most No. 1 debuts on the Hot 100, as all five of her No. 1s have blasted in at the summit.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Nov. 7) will update on Billboard.com tomorrow (Nov. 3). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Positions,” released Oct. 23 on Republic Records as the title track from Grande’s new album, released Oct. 30. The song is the 1,113th No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: “Positions” drew 35.3 million U.S. streams and sold 34,000 in the week ending Oct. 29, according to Nielsen Music/MRC Data. It also tallied 19.9 million radio airplay audience impressions in the week ending Nov. 1.

The track opens at No. 1 on the Streaming Songs chart, where it’s Grande’s third leader, No. 2 on Digital Song Sales and No. 41 on Radio Songs.

(Breaking down the song’s first-week sales, it sold 31,000 digital downloads and 3,000 CD singles that were available in Grande’s webstore for $5 each.)

Grande’s 5th No. 1 … & record 5th No. 1 debut: Here is a recap of Grande’s five Hot 100 No. 1s, all of which have debuted in the top spot.

Title, Weeks at No. 1, Date Debuted No. 1
“Thank U Next,” seven, Nov. 17, 2018
“7 Rings,” eight, Feb. 2, 2019
“Stuck With U,” with Justin Bieber, one, May 23, 2020
“Rain on Me,” with Lady Gaga, one (to date), June 6, 2020
“Positions,” one (to date), Nov. 7, 2020

Grande makes history as the first artist with five Hot 100 No. 1 debuts. She extends her lead over Justin Bieber, Mariah Carey, Drake and Travis Scott, each with three.

Grande also becomes the first artist with three No. 1 Hot 100 debuts in a single year, as “Positions” joins “Rain on Me” and “Stuck With U” as her three 2020 chart-topping entrants.

Earning the trio in a span of five months and two weeks, Grande bests Travis Scott (a week shy of a year in 2019-20) for the fastest accumulation of three No. 1 Hot 100 debuts.

Grande’s third No. 1 this year: Grande is the first artist to send three songs to No. 1 on the Hot 100 in a single year since Drake tripled up in 2018. She’s the first woman (and only act other than Drake) to achieve the feat since Rihanna ascended to No. 1 with four songs and Katy Perry did so with three, both in 2010.

The Beatles hold the one-year record via their first six Hot 100 No. 1s in 1964.

10th No. 1 debut of 2020: “Positions” is the 45th single to start at No. 1 on the Hot 100. It’s the 10th to do so in 2020 (all since April), more than doubling the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

18th No. 1 of 2020: “Positions” is the 18th song to ascend to No. 1 on the Hot 100 for the first time in 2020. This year marks the highest total of songs earning their first weeks on top since 18 also did in 2007 (and the most by the first chart week of November since Nielsen Music/MRC Data-based information began fueling the chart in November 1991).

Luke Combs’ “Forever After All” soars onto the Hot 100 at No. 2, marking his first top 10. He previously reached a No. 11 best with “Even Though I’m Leaving” in November 2019.

“Forever” is from Combs’ album What You See Is What You Get, which returns to No. 1 on the Billboard 200 after the track was among those added to its Oct. 23 deluxe reissue (dubbed What You See Ain’t Always What You Get; “Leaving” has been a part of the LP since its original release in November 2019). “Forever” starts with 29.1 million U.S. streams, good for a No. 2 arrival on Streaming Songs, 873,000 airplay audience impressions and 52,000 sold, as it opens as Combs’ first No. 1 on Digital Song Sales.

“Forever” concurrently enters atop the Hot Country Songs chart (which uses the same methodology as the Hot 100), where it’s Combs’ third No. 1.

Digging (combing?) deeper:

Highest Hot 100 debut ever for a male country artist: “Forever After All” makes the highest Hot 100 debut ever for a song that has also appeared on Hot Country Songs by a solo male, surpassing the No. 5 debut of “Lost in You” by Garth Brooks’ alter ego Chris Gaines in September 1999.

Among all songs that have appeared on Hot Country Songs, only one has debuted higher on the Hot 100 than “Forever”: Carrie Underwood’s “Inside Your Heaven,” which premiered at No. 1 on the Hot 100 dated July 2, 2005, following her coronation as that year’s American Idol champion.

Debuts at Nos. 1 & 2: Thanks to Grande’s “Positions” and Combs’ “Forever After All,” the Hot 100 sports simultaneous debuts at Nos. 1 and 2 for just the third time ever. Such a twofer last occurred on the Nov. 14, 2015, chart, with Adele’s “Hello” at No. 1 and Bieber’s “Sorry” at No. 2.

Before that, on the June 28, 2003, Hot 100, Clay Aiken’s “This Is the Night” and Ruben Studdard’s “Flying Without Wings” entered at Nos. 1 and 2, respectively, reversing their finishes that season on American Idol. (Underwood’s achievement cited above and Aiken’s and Studdard’s clearly reflect how Idol, at its peak, could help songs make big Hot 100 bows in the early- to mid-2000s.)

Two country hits in top 10: Meanwhile, two top 10 Hot Country Songs hits appear in the Hot 100’s top 10 together, as Combs’ “Forever After All,” at No. 2, is joined by Gabby Barrett’s “I Hope,” featuring Charlie Puth, which holds at its No. 6 high. (The latter ranks at No. 2 on Hot Country Songs after 14 weeks at No. 1.)

While it’s the first such double-up since only the chart dated Aug. 29, when Morgan Wallen’s “7 Summers” started at No. 6 on the Hot 100 and “I Hope” hit the top 10 at No. 10, the feat hadn’t previously occurred in over 20 years, since May 13, 2000, when Faith Hill’s “Breathe” and Lonestar’s “Amazed” placed at Nos. 3 and 10 on the Hot 100, respectively.

24kGoldn’s “Mood,” featuring iann dior, dips to No. 3 on the Hot 100 after two weeks at No. 1, with 79 million in radio reach, 19.2 million streams and 7,000 sold. The song takes over at No. 1 on Radio Songs, where it’s each act’s first leader. Completing an eight-week trip to the top of Radio Songs, it wraps the quickest rise to No. 1 this year, and the fastest since Lizzo’s “Good as Hell” also needed just eight weeks to reign in November 2019. “Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 10th week each and Hot Rap Songs for a third frame.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, drops 3-4 on the Hot 100, after debuting at its No. 2 peak. It concurrently hits No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart, where Drake achieves his 21st leader, breaking out of a tie with late legend Aretha Franklin and Stevie Wonder (20 each) for the most No. 1s in the chart’s history.

The Weeknd’s “Blinding Lights” descends 4-5 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 31st week, while adding a 37th week in the top 10, the second-most ever, after Post Malone’s “Circles” (39 weeks, 2019-20). “Lights” leads the multi-metric Hot R&B Songs chart for a record-furthering 33rd week.

Rounding out the Hot 100’s top 10, Barrett’s “I Hope,” featuring Puth, as noted above, holds at No. 6; Cardi B’s “WAP,” featuring Megan Thee Stallion, tumbles 2-7, after four weeks at No. 1; Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” retreats 5-8, after a week at No. 1, aided by BTS remixes; Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, rises to a new No. 9 high from No. 10; and Justin Bieber’s “Holy,” featuring Chance the Rapper, recedes 9-10, after opening at No. 3.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 7), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 3).

Source: billboard.com

The set’s deluxe reissue prompts its 21-1 jump back to the top. Plus: Bruce Springsteen and Ty Dolla $ign start in the top five.

Luke Combs’ What You See Is What You Get album vaults back to No. 1 on the Billboard 200 chart for a second total week, following its deluxe reissue on Oct. 23 — and sets a new weekly streaming record for a country album.

The set, which debuted atop the list dated Nov. 23, 2019, zooms from No. 21 to No. 1 with 109,000 equivalent album units earned in the U.S. in the week ending Oct. 29 (up 399 percent), according to Nielsen Music/MRC Data. The album was reissued on Oct. 23 with a handful of additional songs, bringing its total song count to 23.

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 Nov. 7-dated chart (where What You See Is What You Get returns to No. 1) will be posted in full on Billboard‘s website on Nov. 3. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of What You See Is What You Get’s 109,000 units earned in the tracking week ending Oct. 29, SEA units comprise 76,000 (up 289 percent; equaling 102.26 million on-demand streams of the album’s songs), 22,000 comprise album sales (up 1,734 percent) and 11,000 comprise TEA units (up 904 percent).

What You See Is What You Get’s streaming total of 102.26 million weekly streams for its songs breaks its own record for the largest streaming week for a country album. It first set the record in its debut week (ending Nov. 14, 2019 – chart dated Nov. 23), when it racked up 74 million streams. (Note: Since January, streams on the Billboard 200 now include both on-demand audio and video streams. Before that, streams were audio only. That said, even counting just audio streams for What You See in the latest week, it would still have the biggest week country streaming week ever.)

What You See Is What You Get is also only the second country album to reach No. 1 in 2020 (following Kenny Chesney’s Here and Now on May 16).

Among the new cuts added to the tracklist of What You See Is What You Get are the hit songs “Six Feet Apart” (No. 10 peak on Hot Country Songs in May) and “Without You” (No. 15 on Hot Country Songs). Also included is the new song “Forever After All,” which is expected to make a high debut on both Hot Country Songs and the all-genre Billboard Hot 100 chart dated Nov. 7.

Notably, the 11-month and 15-day gap between weeks at No. 1 for What You See is the longest wait since early 2018, when Bon Jovi’s This House Is Not a Home returned to No. 1 after 15 months.

Bruce Springsteen’s new album Letter to You debuts at No. 2 on the new Billboard 200, as he becomes the first act with new top five-charting albums in each of the last six decades (1970s, ‘80s, ‘90s, 2000s, ‘10s and the ‘20s). Letter to You is Springsteen’s 20th studio effort. Further, Letter to You is the top selling album of the week, debuts at No. 1 on the Album Sales chart and launches with Springsteen’s biggest sales week for any album since 2014.

Letter to You bows with 96,000 equivalent album units earned (Springsteen’s largest week, in terms of units, since the Billboard 200 began measuring in consumption units in December 2014). Of that sum, 92,000 comprise album sales, 4,000 comprise SEA units (totaling 5.37 million on-demand streams of the set’s songs) and less than 1,000 comprise TEA units.

Letter to You’s sales start of 92,000 is Springsteen’s best sales week since High Hopes debuted at No. 1 with 99,000 copies sold on the chart dated Feb. 1, 2014.

All told, Letter to You is Springsteen’s 21st top 10 and top five-charting album. (All 21 of his top 10 efforts also reached the top five.)

Springsteen logged two top five sets in the 1970s (Born to Run, No. 3 in 1975 and Darkness on the Edge of Town, No. 5 in 1978), five in the ‘80s (The River, No. 1 in 1980; Nebraska, No. 3 in 1982; Born in the U.S.A., No. 1 in 1984; the live album Bruce Springsteen & The E Street Band 1975-1985, No. 1 in 1986; and Tunnel of Love, No. 1 in 1987), three in the 1990s (Human Touch, No. 3 in 1992; Lucky Town, No. 3 in 1992; and Greatest Hits, No. 1 in 1995), six in the ‘00s (Live in New York City, No. 5 in 2001; The Rising, No. 1 in 2002; Devils & Dust, No. 1 in 2005; We Shall Overcome: The Seeger Sessions, No. 3 in 2006; Magic, No. 1 in 2007; and Working On a Dream, No. 1 in 2009), four in the ‘10s (Wrecking Ball, No. 1 in 2012; High Hopes, No. 1 in 2014; Chapter and Verse, No. 5 in 2016; and Western Stars, No. 2 in 2019) and now one in the ‘20s (Letter to You, No. 2 in 2020).

Letter to You sold well on vinyl, with 18,000 of its sales coming from the format — the second-largest sales week for a vinyl album in 2020 (trailing only to the debut week of Tame Impala’s The Slow Rush, with 26,000 sold; chart dated Feb. 29). Letter to You was also a hot seller with independent record stores, as it moved 16,000 of its total 92,000 via indie stores.

Letter to You launches at No. 1 both the Vinyl Albums and Tastemaker Albums charts. The latter list ranks the top selling albums of the week at indie and small chain record stores.

Letter to You was led by its title track, which has risen to No. 2 on the Adult Alternative Songs airplay chart (through the most recently published chart dated Oct. 31).

Back on the new Billboard 200 chart, Pop Smoke’s former No. 1 Shoot for the Stars, Aim for the Moon falls 2-3 with 61,000 equivalent album units earned (down 8 percent).

Ty Dolla $ign scores his highest charting album ever and first top 10, as Featuring Ty Dolla $ign bows at No. 4 with 44,000 equivalent album units earned. Of that sum, 39,000 comprise SEA units (totaling 50.83 million on-demand streams of its songs), 4,000 comprise album sales and 1,000 comprise TEA units. He previously peaked as high as No. 11 with Beach House 3 in 2017.

A trio of former No. 1s are next up on the new Billboard 200, as Juice WRLD’s Legends Never Die falls 4-5 (42,000 equivalent album units earned; down 6 percent), 21 Savage and Metro Boomin’s Savage Mode II slips 3-6 (36,000; down 24 percent) and Lil Baby’s My Turn is a non-mover at No. 7 (35,000 units; down 4 percent).

The original Broadway cast recording of Hamilton: An American Musical is steady at No. 8 with 29,000 equivalent album units earned (down 9 percent), while Machine Gun Kelly’s previous leader Tickets to My Downfall holds at No. 9 with 28,000 units (down 6 percent).

Harry Styles’ former No. 1 Fine Line returns to the top 10, climbing from No. 20 to No. 10, following the Oct. 26 release of the set’s new video for the song “Golden.” The album earned 27,000 equivalent album units (up 20 percent).

Source: billboard.com

Plus, Justin Bieber & Chance the Rapper’s “Holy” returns to the top 10.

24kGoldn‘s “Mood,” featuring Iann Dior, spends a second week at No. 1 on the Billboard Hot 100 songs chart.

Gabby Barrett‘s “I Hope,” featuring Charlie Puth, rises from No. 8 to a new No. 6 Hot 100 high and takes over as the most-heard song on U.S. radio, climbing to the top of the Radio Songs chart.

Plus, Justin Bieber‘s “Holy,” featuring Chance the Rapper, re-enters the Hot 100’s top 10 at No. 9, while Bieber’s newest single, “Lonely,” with benny blanco, debuts just outside the top tier.ARTISTS MENTIONED

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Oct. 31) will update on Billboard.com tomorrow (Oct. 27). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 19.5 million U.S. streams (down 4%) and sold 9,000 downloads (up 18%) in the week ending Oct. 22, according to Nielsen Music/MRC Data. It also tallied 72.1 million radio airplay audience impressions (up 15%) in the week ending Oct. 25.

The track jumps 6-3 on Radio Songs, and holds at No. 4 on the Streaming Songs chart and No. 6 on Digital Song Sales. On the Hot 100, it wins the top Airplay Gainer award for the seventh time in the past eight weeks, marking the first song to earn the honor at least that many times in such a span since Pharrell’s “Happy” did so for eight weeks in a row in February-March 2014.

Multiple radio formats are supporting “Mood,” which hits No. 1 on the Pop Songs chart, where it likewise becomes each act’s first leader. It bullets at No. 2 on Rhythmic Airplay, No. 11 on both Alternative Airplay and Rap Airplay and No. 23 on Adult Pop Songs. Reaching the top of Pop Songs in its ninth chart week, the song completes the fastest ascent to No. 1 on the list this year. It also wraps the quickest trip to the Pop Songs summit for a lead artist’s first entry on the chart since Meghan Trainor’s “All About That Bass,” which also hit No. 1 in its ninth week in 2014.

“Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a ninth week each and Hot Rap Songs for a second frame. (All three charts employ the same methodology as the Hot 100.)

Cardi B’s “WAP,” featuring Megan Thee Stallion, keeps at No. 2 on the Hot 100, after four weeks at No. 1, as it leads Streaming Songs for a 10th week (23.7 million, down 9%). It concurrently rules the multi-metric Hot R&B/Hip-Hop Songs chart for a 10th frame (marking the first of Cardi B’s five leaders to reign for double-digit weeks, as well as the first of Megan Thee Stallion’s two No. 1s to reach the milestone.)

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, is steady at No. 3 on the Hot 100, after debuting at its No. 2 peak.

The Weeknd’s “Blinding Lights” holds at No. 4 on the Hot 100, after spending four weeks at No. 1. It ranks in the top five for a record-extending 30th week, while logging a 36th week in the top 10, the second-most weeks ever spent in the bracket, after Post Malone’s “Circles” (39 weeks, 2019-20). “Blinding Lights” leads the multi-metric Hot R&B Songs chart for a record-padding 32nd week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” rebounds 6-5 on the Hot 100, two weeks after it vaulted to No. 1, aided by BTS remixes.

Gabby Barrett’s “I Hope,” featuring Charlie Puth, hits a new Hot 100 high, rising 8-6. It concurrently crowns Radio Songs for the first time (76.2 million, up 3%), as it halts the record 26-week reign of The Weeknd’s “Blinding Lights.” “I Hope” led the Country Airplay chart for a week in April and, aided by its Puth remix released that month, has crossed to adult and pop radio. It leads Adult Pop Songs for a second week and ranks at No. 7 on Pop Songs and No. 8 on Adult Contemporary.

Notably, the song is just the fourth to have topped both the Country Airplay and all-format Radio Songs charts, dating to the surveys’ 1990 inceptions (and the latter list’s 1998 expansion to include country panelists, among other format reporters). Here’s a recap, with all four songs having achieved both country and pop radio success. Of the quartet, “I Hope” is the only song to have led both charts thanks to the addition of a billed artist (Puth) after its Country Airplay coronation.

Radio Songs No. 1s That Also Topped Country Airplay
“You Belong With Me,” Taylor Swift, two weeks at No. 1 on Radio Songs, beginning Oct. 3, 2009
“Need You Now,” Lady A, two weeks, beginning March 27, 2010
“Meant to Be,” Bebe Rexha & Florida Georgia Line, five weeks, beginning April 14, 2018
“I Hope,” Gabby Barrett feat. Charlie Puth, one week to date, Oct. 31, 2020

Barrett, who placed third on ABC’s American Idol in 2018, is first artist to have topped both Country Airplay and Radio Songs with a debut single, thanks to “I Hope.” Puth adds his third Radio Songs No. 1, following his featured turn on Wiz Khalifa’s “See You Again” (six weeks, 2015) and his own “Attention” (five weeks, 2017).

“I Hope” dominates the multi-metric Hot Country Songs chart for a 14th week.

BTS’ “Dynamite” drops 5-7 on the Hot 100, after three weeks at No. 1, as it tallies a ninth week atop Digital Song Sales (25,000, down 43%), and DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, descends 7-8.

Justin Bieber’s “Holy,” featuring Chance the Rapper, returns to the Hot 100’s top 10, bounding 14-9. It debuted at its No. 3 peak four weeks earlier. The song resurges after Bieber performed it on the Oct. 17 episode of NBC’s Saturday Night Live. It climbs 10-5 on Digital Song Sales (11,000, up 70%, good for top Sales Gainer honors on the Hot 100), 13-9 Streaming Songs (14.4 million, up 6%) and 18-17 on Radio Songs (36.9 million, up 5%).

Bieber also performed his newest single, “Lonely,” with benny blanco, on SNL and the track enters the Hot 100 at No. 14. It starts at No. 2 on Digital Song Sales (16,000) and No. 6 on Streaming Songs (16.3 million), while having also drawn 10.7 million in radio reach in its first full tracking week following its Oct. 16 release.

Rounding out the Hot 100’s top 10, Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, ranks at its No. 10 best for a second week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 31), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 27).

Source: billboard.com

It also becomes the first album to sell a million copies in the U.S. in 2020.

Taylor Swift’s Folklore surges back to No. 1 on the Billboard 200 chart for an eighth nonconsecutive week on top, as the set jumps from No. 10 with 77,000 equivalent album units earned in the U.S. in the week ending Oct. 22 (up 170%), according to Nielsen Music/MRC Data.

The album’s huge increase is owed to an explosion of sales generated from Swift’s official webstore, where the superstar sold autographed CDs of the set for $25 each for a limited time. Of Folklore’s units earned for the week, album sales comprised 57,000 of that figure – a gain of 709%.

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 Oct. 31-dated chart (where Folklore returns to No. 1) will be posted in full on Billboard‘s website on Oct. 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Folklore’s 77,000 units earned in the tracking week ending Oct. 22, album sales (as noted above) comprise 57,000 (up 709%), SEA units total 20,000 (down 7%, equaling 26.35 million on-demand streams of the album’s songs) and TEA units comprise a little under 500 (up 2%).

With another 57,000 copies sold in the latest tracking week, Folklore’s total album sales jump past 1 million (to 1.038 million), making it the first album to sell a million copies in 2020. It’s also the first album released in 2020 to sell a million. Folklore is Swift’s ninth album to sell at least 1 million copies in the U.S. Those nine albums include all eight of her studio efforts, along with her Christmas release The Taylor Swift Holiday Collection.

Folklore’s eighth week at No. 1 also marks its third total visit to the top, as the Republic Records release debuted at No. 1 on the Aug. 8-dated chart and spent its first six weeks at No. 1. It then vacated the top slot for two weeks, and then returned for one week on Oct. 3. It stepped aside for three more weeks, until its latest stanza atop the tally.

Folklore is the second album to enjoy three separate visits to No. 1 in 2020, following Roddy Ricch’s Please Excuse Me for Being Antisocial, which had four visits to the top between December 2019 and February. It debuted at No. 1 on the Dec. 21, 2019-dated chart, then had three more one-week visits on Jan. 18, Feb. 8 and Feb. 22.

The last album by a woman to have three distinct stays at No. 1 was Billie Eilish’s When We All Fall Asleep, Where Do We Go?, which had three one-week visits to the top on April 13, May 5 and June 8, 2019.

Folklore continues to have the most weeks at No. 1 for any album since Drake’s Views notched 13 nonconsecutive weeks in 2016. Folklore also continues to have the most weeks at No. 1 among all non-R&B/hip-hop titles, and albums by women, since Adele’s 25 landed 10 nonconsecutive weeks at No. 1 in 2015-16.

At No. 2 on the new Billboard 200, Pop Smoke’s Shoot for the Stars Aim for the Moon (released via Victor Victor Worldwide/Republic) falls one spot with 66,000 equivalent album units earned (down 1%). 21 Savage and Metro Boomin’s Savage Mode II (Boominati/Slaughter Boomin/Republic/Epic) dips 2-3 with 47,000 units (down 29%). With Republic Records claiming Nos. 1-3 (the label shares distribution credit with Epic on Savage Mode II), it’s the first time a label has held the top three since Republic itself did it on the July 14, 2018-dated chart. That week, Drake’s Scorpion (Young Money/Cash Money/Republic) debuted at No. 1, while Florence + the Machine’s High as Hope (Republic) debuted at No. 2 and Post Malone’s Beerbongs & Bentleys (Republic) held at No. 3.

Tom Petty’s 1994 album Wildflowers re-enters the Billboard 200 at No. 5 – a new peak – after its deluxe reissue on Oct. 16. The set bounds back onto the tally with 44,000 equivalent album units earned (up 1,765%). Of that sum, 38,000 comprise album sales (up 8,409%), a little under 5,000 comprise SEA units (up 161%) and 1,000 comprise TEA units (up 710%).

Wildflowers originally debuted and peaked at No. 8 on the Billboard 200 chart dated Nov. 19, 1994. The set spent six nonconsecutive weeks in the top 10 between Nov. 19, 1994 and Jan. 21, 1995. The album contained the top 20-charting Billboard Hot 100 hit “You Don’t Know How It Feels,” which also reached No. 1 on the Mainstream Rock Songs airplay chart. The set also sported the Mainstream Rock Songs top 10 hits “You Wreck Me” (No. 2) and “It’s Good to Be King” (No. 6).

Wildflowers was reissued on Oct. 16, and its sales benefit from a variety of expansive deluxe editions, dubbed Wildflowers & All the Rest. All versions of the album, including the original 1994 release, are combined for tracking and charting purposes. The All the Rest subtitle refers to the inclusion of a number of previously unreleased bonus tracks, many of which were originally intended for the Wildflowers album. (The set was initially meant to be a double album, but was whittled down to a 15-song release.)

Korean pop group NCT lands its first entry on the Billboard 200, as the 23-member act’s second album Resonance, Pt. 1, debuts at No. 6 with 43,000 equivalent album units earned. Of that sum, 40,000 comprise album sales, a little under 3,000 comprise SEA units, and a negligible sum in TEA units. NCT’s previous album, 2018’s NCT 2018 Empathy, missed the Billboard 200.

NCT’s spin-off group NCT 127 (whose 10 members are also part of NCT) has charted three albums on the Billboard 200, including the top 10 set NCT #127: Neo Zone, The 2nd Album, which debuted and peaked at No. 5 on March 21.

Lil Baby’s former No. 1 My Turn falls 4-7 with 37,000 equivalent album units (down 3%), the original Broadway cast recording of Hamilton: An American Musical is a non-mover at No. 8 with 32,000 units (down 2%) and Machine Gun Kelly’s previous No. 1 Tickets to My Downfall drops 5-9 with 30,000 units (down 18%). Blackpink’s The Album closes out the top 10, descending 6-10 with 29,500 units (down 15%).

Source: billboard.com