Plus: Logic and The Kid LAROI debut in top 10.

Taylor Swift’s Folklore flies in at No. 1 on the Billboard 200 albums chart, capturing the biggest week for any album since Swift’s last release, 2019’s Lover.

Folkore was released with little advance notice on July 24 and earns Swift her seventh No. 1 album.

Folklore starts with 846,000 equivalent album units earned in the U.S. in the week ending July 30, according to Nielsen Music/MRC Data. That marks the largest week registered for any album since Swift’s own Lover, which debuted at No. 1 on the Sept. 7, 2019-dated chart with 867,000 units.

Further, in the last four years, the three biggest weeks for any album have been racked up by Swift. Dating back to July of 2016, the three largest frames for any album are: Swift’s Reputation (1.24 million units, Dec. 2, 2017-dated chart), Lover (867,000) and Folklore (846,000).

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 Aug. 8-dated chart (where Folklore bows at No. 1) will be posted in full on Billboard‘s website on Aug. 4.

Folklore’s debut of 846,000 equivalent album units is led by 615,000 in album sales, 218,000 in SEA units (equating to 289.85 million on-demand streams of the tracks on the album), and 13,000 in TEA units.

Seventh No. 1 Album: Folklore marks Swift’s seventh No.  1 on the Billboard 200 albums chart, tying her with Janet Jackson for the third-most leaders among women in the history of the chart. Ahead of them on the leading ladies list are Barbra Streisand, with 11 No. 1s, and Madonna, with nine. Among all acts, The Beatles have the most No. 1 albums, with 19.

Before Folklore, Swift topped the chart with Lover (No. 1 for one week, Sept. 7, 2019-dated chart), Reputation (No. 1 for four weeks, 2017-18), 1989 (No. 1 for 11 weeks, 2014-15), Red (No. 1 for seven weeks, 2012-13), Speak Now (No. 1 for six weeks, 2010-11) and Fearless (No. 1 for 11 weeks, 2008-09).

Most No. 1 Debuts Among Women: All seven of Swift’s No. 1 albums have debuted at No. 1 — a record among female artists. Beyoncé, Lady Gaga, Madonna and Britney Spears are tied with the second-most debuts at No. 1 among women, with six each. (Beyoncé, Gaga and Spears each have a total of six No. 1 albums — and all of them also debuted at No. 1. Meanwhile, six of Madonna’s nine total No. 1s debuted atop the list.)

Among all acts, Jay-Z has the most debuts at No. 1, with 14. All 14 of his No. 1 albums have debuted at No. 1.

2020’s Biggest Week for an Album, and Biggest for Any Album Since Swift’s Last Release, Lover: Folklore’s start of 846,000 equivalent album units marks the largest week for 2020 for any album. It blows past the previous high, which was registered just last month by the opening stanza of Juice WRLD’s Legends Never Die (497,000 units in the tracking week ending July 16; as reflected on the chart dated July 25).

In addition, Folklore nabs the biggest week for any album since Swift’s last release, Lover, less than a year ago. It launched atop the list dated Sept. 7, 2019, with 867,000 units earned in the week ending Aug. 29, 2019.

Lover was released on Aug. 23, 2019. Unlike the surprise-released Folklore, Lover was preceded by months of traditional promotion, which began with the release of the set’s first single, “Me!,” featuring Brendon Urie, on April 26, 2019.

Also, while Lover was available widely to purchase at all retailers in its first week, including Target, which carried four deluxe CD editions of the set, Folklore had a limited availability at retail in its first week. Folklore was only sold via Swift’s official webstore or via digital retailers. Folklore will be released on CD widely to all retailers on Aug. 7.

Swift Has the Three Biggest Weeks for Any Album in the Last Four Years: In the last four years, the three biggest weeks for any album have been racked up by Swift. Dating back to July of 2016, the three largest frames for any album were tallied by the debut weeks of Swift’s Reputation (1.24 million units, Dec. 2, 2017-dated chart), Lover (867,000) and Folklore (846,000).

The last time anyone not named Taylor Swift had a bigger week than Folklore was Drake, who saw his Views album launch with 1.04 million units at No. 1 on the May 21, 2016-dated chart.

Biggest Sales Week for an Album Since Lover: Folklore sold 615,000 copies in its first week, marking the largest sales frame for any album since Swift’s Lover sold 679,000 copies in its debut week (Sept. 7, 2019-dated chart).

As noted above, in Folklore’s first week of release, the album was only available to purchase through Swift’s website and digital retailers.

During the album’s first week, Swift’s webstore sold over a dozen physical/digital album bundles (with a CD, vinyl LP or cassette, plus the digital album). All of the physical/digital bundles delivered the digital version of the album upon purchase to the customer, while the physical version will ship to the customer later. Sales of such bundles — where two formats of the same album are bundled together — are counted as one sale, with the album configuration sold determined by the first version of the album that is fulfilled to the customer.

Swift’s store additionally sold an array of merchandise/digital album bundles.

‘Folklore’ Is Already 2020’s Top Selling Album: With 615,000 copies sold of Folklore in its first week, the album has already become 2020’s top selling album. It surpasses the previous top-seller, BTS’ Map of the Soul: 7, which has sold 574,000 since its release on Feb. 21.

First Act to Have Seven Different Albums Sell at Least 500,000 in a Single Week: As Folklore sold 615,000 copies in its first week, Swift becomes the first act to have seven different albums each sell at least 500,000 copies in a single week, since Nielsen Music/MRC Data began electronically tracking music sales in 1991. Swift previously achieved half-million sales frames with the debut weeks of her last six full-length studio albums: Lover (679,000, in 2019), Reputation (1.216 million, in 2017), 1989 (1.287 million, 2014), Red (1.208 million, 2012), Speak Now (1.047 million, 2010) and Fearless (592,000; 2008).

Swift was previously tied with Eminem, who has seen six of his albums each sell at least 500,000 copies in a week.

Largest Streaming Week of 2020 for an Album by a Woman: Folklore garnered 218,000 SEA units in its first week, which equals 289.85 million on-demand streams of its songs in its first week. That’s the biggest streaming week of 2020 for any album by a woman, and the biggest by a non-rap album this year. The only albums to generate bigger streaming frames in 2020 are two rap titles: Juice WRLD’s Legends Never Die, with 422.63 million in its opening week, and Lil Uzi Vert’s Eternal Atake, with 400.42 million and 348.72 million in its first and second weeks, respectively.

Folklore’s 289.85 million streams also mark the second-biggest streaming week ever for an album by a woman, behind only the debut frame of Ariana Grande’s Thank U, Next (307.07 million; chart dated Feb. 23, 2019).

At No. 2 on the new Billboard 200, Logic’s No Pressure launches with 221,000 equivalent album units earned. Of that sum, 172,000 are in album sales (supported by an array of merchandise/album bundles), 48,000 are in SEA units (equaling 65.16 million on-demand streams of the album’s songs) and 1,000 are in TEA units.

No Pressure — which Logic describes as his “farewell” effort as he announced his “retirement” — racks up his biggest week for an album since Everybody opened at No. 1 on the May 27, 2017-dated chart with 248,000 units.

No Pressure is Logic’s seventh top 10 effort, stretching back to his first chart entry, Under Pressure, which debuted and peaked at No. 4 on the Nov. 8, 2014-dated chart.

Juice WRLD’s Legends Never Die falls from No. 1 to No. 3 in its third week, after two frames on top, with 107,000 equivalent album units (down 34 percent), while Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon dips 2-4 with nearly 107,000 units (down 23 percent).

The original Broadway cast recording of Hamilton: An American Musical slips 4-5 with 71,000 equivalent album units (down 9 percent). The album peaked at No. 2 on the July 18 chart after Disney+ premiered the filmed version of the Broadway show on July 3. Hamilton has now spent 27 nonconsecutive weeks in the top 10 of the Billboard 200 — the most of any cast recording since Hair hung on for 28 weeks in 1969.

Gunna’s Wunna runs 21-6 on the new Billboard 200 with a 205 percent gain in equivalent album units earned (rising to 67,000) after the former No. 1 album was reissued on July 24 with eight additional tracks. Lil Baby’s previous chart-topper, My Turn, falls 5-7 with 53,000 equivalent album units earned (down 6 percent).

The Kid LAROI makes his Billboard 200 debut with F*ck Love at No. 8, which launches with 40,000 equivalent album units earned. Of that sum, 33,000 are in SEA units (equaling 49.39 million on-demand streams of the albums songs), 7,000 are in album sales (aided by dozens of merchandise/album bundles) and a negligible sum from TEA units.

F*ck Love is the 16-year-old rapper’s (real name: Charlton Howard) first full-length mixtape. The set includes a guest turn from LAROI’s mentor, the late Juice WRLD.

Rounding out the new top 10 on the Billboard 200 are a pair of former No. 1s, as Post Malone’s Hollywood’s Bleeding shifts 7-9 with 33,000 equivalent album units (down 1 percent) and Harry Styles’ Fine Line dips 9-10 with 31,000 units (up 7 percent).

Source: billboard.com

DJ Khaled’s “Popstar” & “Greece,” both featuring Drake, bow at Nos. 3 & 8.

DaBaby‘s “Rockstar,” featuring Roddy Ricch, spends a seventh week at No. 1 on the Billboard Hot 100 songs chart.

DJ Khaled‘s “Popstar” and “Greece,” both featuring Drake, launch at Nos. 3 and 8 on the Hot 100, respectively. The debuts are historic for Drake, who adds his 39th and 40th top 10s and passes Madonna (38) for the most in the chart’s history.

Plus, Chris Brown and Young Thug‘s “Go Crazy” ascends to the Hot 100’s top 10, flying from No. 29 to No. 10, following the premiere of its official video.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Aug. 1) will update on Billboard.com tomorrow (July 28).

“Rockstar,” released on SouthCoast/Interscope Records, rebounds from No. 2 for a ninth week at No. 1 on the Streaming Songs chart, with 36.2 million U.S. streams, down 7%, in the week ending July 23, according to Nielsen Music/MRC Data. It lifts 3-2 on Radio Songs, with 62.1 million airplay audience impressions, up 5%, in the week ending July 26. On Digital Song Sales, it drops 3-5 with 11,000 sold, down 6%, in the week ending July 23.

“Rockstar” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric formula as the Hot 100, for a seventh week each.

Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, revisits its No. 2 high on the Hot 100, rising from No. 3. It jumps 7-2 on Streaming Songs (33.3 million, up 19%) and 21-13 on Digital Song Sales (6,000, up 36%), aided by the July 17 premiere of the official video for its remix. On Radio Songs, the track holds at No. 18 (37.8 million, up 5%).

DJ Khaled’s “Popstar” and “Greece,” both featuring Drake, soar onto the Hot 100 at Nos. 3 and 8, respectively. The songs start at Nos. 3 and 4 on Streaming Songs with 28.4 million and 22.1 million streams, respectively. On Digital Song Sales, they arrive at Nos. 1 and 7 with a respective 15,000 and 9,000 sold, with the former marking Khaled’s seventh leader and Drake’s ninth.

“Popstar” and “Greece” also drew 13.1 million and 3.5 million in radio airplay audience, respectively, in the tracking week.

Khaled collects his fifth and sixth Hot 100 top 10s, while Drake makes history, notching his 39th and 40th top 10s, as he passes Madonna (38) for the most career top 10s on the chart, which began on Aug. 4, 1958.

Most Billboard Hot 100 Top 10s
40, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
27, Elton John
25, Lil Wayne
25, Elvis Presley
25, Taylor Swift

Meanwhile, with his two new features on Khaled’s tracks, Drake makes his record-extending 24th and 25th debuts in the Hot 100’s top 10. Drake additionally extends his records for the most career Hot 100 entries (224) and top 40 hits (113).

The Weeknd’s “Blinding Lights” is steady at No. 4 on the Hot 100, following its four-week reign. It tops Radio Songs for a 16th week (74.7 million in audience, down 2%), tying for the second-longest domination since the chart started in December 1990. Here’s an updated recap of the longest-leading Radio Songs No. 1s:

Weeks at No. 1, Title, Artist, Date Reached No. 1
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “Blinding Lights,” The Weeknd, April 18, 2020
16, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
14, “High Hopes,” Panic! at the Disco, Dec. 1, 2018
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996

“Blinding Lights” tops the multi-metric Hot R&B Songs chart for a 19th week.

SAINt JHN’s “Roses” returns to No. 5 on the Hot 100 from No. 8, after hitting No. 4, while leading the Hot Dance/Electronic Songs chart for a 13th week; Megan Thee Stallion’s former one-week Hot 100 leader “Savage,” featuring Beyoncé, keeps at No. 6; and Harry Styles’ “Watermelon Sugar” re-enters the top 10 at its best rank (11-7), first reached two weeks ago.

Below DJ Khaled’s “Greece,” featuring Drake, at No. 8 on the Hot 100, Juice WRLD and Marshmello’s “Come & Go” falls from No. 2, where it debuted a week ago, to No. 9. It logs a second week at No. 1 on the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts.

Rounding out the Hot 100’s top 10, Chris Brown and Young Thug’s “Go Crazy” roars into the region, blasting from No. 29 to No. 10, after the July 17 premiere of its official video. It leaps 37-15 on Streaming Songs (16.5 million, up 38%) and 43-17 on Digital Song Sales (5,000, up 59%) and advances 21-20 on Radio Songs (34.9 million, up 1%).

Brown tallies his 16th Hot 100 top 10 and Young Thug adds his third.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (July 28), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: The Chicks’ ‘Gaslighter’ debuts at No. 3 and Jhené Aiko’s ‘Chilombo’ surges 43-6 after reissue.

Juice WRLD’s Legends Never Die holds atop the Billboard 200 albums chart for a second week, as the set earned 162,000 equivalent album units in the U.S. in the week ending July 23 (down 67 percent), according to Nielsen Music/MRC Data. The album blasted in at No. 1 a week ago with 497,000 units — 2020’s biggest week for any release.

Meanwhile, The Chicks (formerly The Dixie Chicks) debut at No. 3 with their first studio album in 14 years, Gaslighter, and Jhené Aiko’s Chilombo roars back into the top 10, surging 43-6, after it was reissued with additional tracks.

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). The new Aug. 1-dated chart (where Legends Never Die holds at No. 1) will be posted in full on Billboard‘s website on July 28.

At No. 2 on the Billboard 200, Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is a non-mover, earning 138,000 equivalent album units (up 26 percent). The album got a goose in its third week after it was reissued on July 20 (the late artist’s birthday) with 15 additional tracks.

The Chicks debut at No. 3 with the trio’s first album since 2006, Gaslighter. The set launches with 84,000 equivalent album units earned, with 71,000 of that sum coming from album sales. Gaslighter is also the best-selling album of the week, and it bows at No. 1 on the Album Sales chart.

Gaslighter is The Chicks’ fifth top 10 album on the Billboard 200, and also marks the group’s first new studio album since 2006’s Taking the Long Way (which debuted at No. 1). In addition to Gaslighter and Taking the Long Way, the band has visited the top 10 with Home (No. 1 in 2002), Fly (No. 1 in 1998) and Wide Open Spaces (No. 4 in 1999).

The original Broadway cast recording of Hamilton: An American Musical slips from No. 3 to No. 4 on the new Billboard 200, tallying 78,000 equivalent album units (down 18 percent). Lil Baby’s former No. 1 My Turn falls from No. 4 to No. 5 with 57,000 units (down 2 percent).

Jhené Aiko’s Chilombo surges back into the top 10, as it charges 43-6 with 50,000 equivalent album units earned (up 247 percent). The album’s run back up the list is owed to its deluxe reissue on July 17, which added nine tracks. The album was initially released on March 6, and debuted and peaked at No. 2 on the March 21-dated chart.

A quartet of former No. 1s rounds out the new top 10, as Post Malone’s Hollywood’s Bleeding falls 5-7 (34,000 equivalent album units, down 1 percent), DaBaby’s Blame It on Baby descends 6-8 (32,000; down 4 percent), Harry Styles’ Fine Line moves 7-9 (29,000; up 3 percent) and The Weeknd’s After Hours shifts 9-10 (27,000; down 1 percent).

Source: billboard.com

Juice WRLD joins Drake and The Beatles as the only acts to occupy half of the top 10 at once.

DaBaby‘s “Rockstar,” featuring Roddy Ricch, logs a sixth week at No. 1 on the Billboard Hot 100, while the late Juice WRLD joins exclusive company historically in the top 10.

Juice WRLD lands five songs in the Hot 100’s top 10, matching Drake and The Beatles as the only acts ever to claim at least half the region in a single week. All five tracks are from his LP Legends Never Die, which launches at No. 1 on the Billboard 200 albums chart with the biggest week, in terms of equivalent album units, of 2020.

Juice WRLD died at age 21 on Dec. 8, 2019, with the cause of death announced in January.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated July 25) will update on Billboard.com tomorrow (July 21).

‘Rockstar’ rules: “Rockstar,” released on SouthCoast/Interscope Records, dips to No. 2 on the Streaming Songs chart, after eight weeks at No. 1, with 39 million U.S. streams, down 8%, in the week ending July 16, according to Nielsen Music/MRC Data. It drops 2-3 on Digital Song Sales, with 11,000 sold, down 16%, in the same span. On Radio Songs, it rises 5-3 with 59 million airplay audience impressions, up 9%, in the week ending July 19.

“Rockstar” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric formula as the Hot 100, for a sixth week each.

Juice WRLD has half of Hot 100’s top 10: Juice WRLD sends five songs into the Hot 100’s top 10, led by “Come & Go,” with Marshmello, a debut at No. 2. Three other tracks enter the chart in the top tier: “Wishing Well,” at No. 5; “Conversations,” at No. 7; and “Hate the Other Side,” also with Marshmello and featuring Polo G and The Kid LAROI, at No. 10. Plus, “Life’s a Mess,” with Halsey, vaults from No. 74 to No. 9 in its second week on the chart.

With those five entries, Juice WRLD becomes just the third act with at least five songs in the top 10 simultaneously in the Hot 100’s 62-year history. Drake charted a record seven songs in the top 10 on July 14, 2018, while The Beatles posted five each on April 4 and 11, 1964; on the former list, the group infused the entire top five, a feat that has yet to be repeated.

Top 10 totals: Juice WRLD’s count of Hot 100 top 10s swells to eight, as he previously reached the region with “Lucid Dreams” (No. 2 peak, October 2018); “Bandit,” with YoungBoy Never Broke Again (No. 10, October 2019); and “Godzilla,” by Eminem featuring Juice WRLD (No. 3). Juice WRLD, thus, ties his best Hot 100 rank, as “Come & Go” matches the high of “Lucid Dreams.”

Marshmello adds his second Hot 100 top 10 via “Come & Go,” likewise tying his top rank, after “Happier,” with Bastille, hit No. 2 in February 2019.

“Life’s a Mess” marks Halsey’s sixth Hot 100 top 10, while “Hate the Other Side” brings Polo G and The Kid LAROI their first trip each to the bracket.

Record-tying four top 10 debuts: Juice WRLD ties the record for the most simultaneous top 10 Hot 100 debuts, thanks to “Come & Go,” “Wishing Well,” “Conversations” and “Hate the Other Side,” at Nos. 2, 5, 7 and 10, respectively. Lil Wayne sent four songs onto the chart in the top 10 on Oct. 13, 2018, after Drake first premiered a quartet of titles in the top 10 on July 14, 2018.

No. 1 in streaming: “Come & Go” opens atop Streaming Songs, becoming Juice WRLD’s third leader (after “Lucid Dreams” and “Bandit”) and Marshmello’s first, registering 36.4 million streams in the tracking week. (Note that while that sum is lower than the 39 million for “Rockstar,” the former ranks at No. 1 on Streaming Songs and the latter places at No. 2 due to the application of weighting of paid subscription, ad-supported and programmed streams.) On Digital Song Sales, “Come & Go” opens at No. 2, with 12,000 sold.

Interscope’s six-pack: All five of Juice WRLD’s new Hot 100 top 10s are on Grade A/Interscope. As they join DaBaby’s “Rockstar,” Interscope boasts six songs in the top 10. That’s the most for a label in a single week since Republic also claimed six on the chart dated Sept. 21, 2019. Republic additionally logged six top 10s on charts dated May 18, 2019; Oct. 13, 2018; and July 28, 2018, the most since the label landed seven, all by Drake, on, again, July 14, 2018.

Republic also tallied six simultaneous Hot 100 top 10s on May 12, 2018, the first such occurrence since Interscope achieved the feat on Oct. 13, 2007, with: Soulja Boy Tell’em’s “Crank That (Soulja Boy)” (No. 1); Timbaland’s “The Way I Are,” featuring Keri Hilson (No. 4); Fergie’s “Big Girls Don’t Cry” (No. 5); Timbaland’s “Apologize,” featuring OneRepublic (No. 6); Feist’s “1234” (No. 8); and Keyshia Cole’s “Let It Go,” featuring Missy Elliott and Lil Kim (No. 9).

Alt apex: “Come & Go” concurrently premieres atop the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts, marking the first No. 1 on each ranking for both Juice WRLD and Marshmello. (The former chart was recently revamped, while the latter list began.)

Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, holds at No. 3 on the Hot 100, after reaching No. 2 two weeks ago, and The Weeknd’s “Blinding Lights” backtracks 2-4, following its four-week reign.

“Blinding Lights” leads Radio Songs for a 15th week (76.4 million in audience, down 1%), becoming one of only five songs with a reign of at least that long and moving to within a week of tying for the second-longest command since the chart started in December 1990. Here’s an updated recap of the longest-leading Radio Songs No. 1s:

Weeks at No. 1, Title, Artist, Date Reached No. 1
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
15, “Blinding Lights,” The Weeknd, April 18, 2020
14, “High Hopes,” Panic! at the Disco, Dec. 1, 2018
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996

“Blinding Lights” tops the multi-metric Hot R&B Songs chart for an 18th week.

Elsewhere in the Hot 100’s top 10, Megan Thee Stallion’s former one-week leader “Savage,” featuring Beyoncé, slips 4-6 and SAINt JHN’s “Roses” descends 5-8, after hitting No. 4, while leading the Hot Dance/Electronic Songs chart for a 12th week.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (July 21), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Set also launches with fourth-largest streaming week ever.

Juice WRLD’s Legends Never Die makes a smashing debut at No. 1 on the Billboard 200 albums chart, capturing the largest week of 2020 for any album, as it earned 497,000 equivalent album units in the U.S. in the week ending July 16, according to Nielsen Music/MRC Data.

The set registers the largest streaming week of 2020, and the fourth-largest streaming frame ever for an album.

Legends Never Die is the late artist’s second No. 1 album, following 2019’s Death Race for Love, which opened atop the list dated March 23, 2019, with 165,000 units earned.Legends Never Die was released via Grade A/Interscope Records on July 10. It’s Juice WRLD’s first release since his death on Dec. 8, 2019.

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). The new July 25-dated chart (where Legends Never Die starts at No. 1) will be posted in full on Billboard‘s website on July 21.

Legends Never Die’s debut of 497,000 equivalent album units is powered by 283,000 SEA units (equating to 422.63 million on-demand streams of the tracks on the album), 209,000 in album sales (supported largely by over 100 merchandise/album bundle offers) and 3,000 in TEA units.

Biggest Week of 2020 for an Album by Units: With 497,000 units earned, Legends Never Die captures 2020’s biggest week for an album, by equivalent album units earned. It beats the previous high, logged by the arrival of The Weeknd’s After Hours, when it bowed at No. 1 with 444,000 units on the chart dated April 4. The last album to notch a larger week than Legends was Taylor Swift’s Lover, when it entered at No. 1 on the Sept. 7, 2019-dated list with 867,000 units.

Biggest Week for a Hip-Hop Album or by a Male Artist in Nearly Two Years: The last hip-hop album, or effort by a male artist, to capture a bigger week than Legends Never Die, was Travis Scott’s Astroworld, when it debuted at No. 1 on the Aug. 18, 2018-dated chart with 537,000 units.

Since January 2018, the only albums, of any genre, that logged a week as large as Legends were Swift’s Lover, Astroworld, and Drake’s Scorpion (732,000; July 14, 2018), and all in their debut weeks.

Biggest Streaming Week of 2020 & Fourth Largest Streaming Week Ever: Legends Never Die’s first week was led by blockbuster streaming figures, as the album’s tracks logged 422.63 million on-demand streams in the U.S. in the week ending July 16. That’s the largest streaming week of 2020 for any album, and the fourth-biggest streaming week ever for an album.

Legends’ streaming launch surpasses 2020’s previous record, earned by the arrival of Lil Uzi Vert’s Eternal Atake, when it started with 400.42 million streams (No. 1; March 21). In terms of the all-time streaming records, the only weeks that are larger than Legends are the debut frames of Drake’s Scorpion (745.92 million; July 14, 2018), Lil Wayne’s Tha Carter V (433.02 million; Oct. 13, 2018) and Post Malone’s Beerbongs & Bentleys (431.34 million; May 12, 2018).L

Legends Never Die replaces Pop Smoke’s Shoot for the Stars Aim for the Moon at No. 1 on the Billboard 200. The latter title – another posthumously released effort — slips to No. 2 in its second week with 110,000 equivalent album units earned (down 56 percent). With Juice WRLD following Pop Smoke at No. 1, it’s the first time two acts have gone back-to-back at No. 1 on the chart with posthumous releases. It’s also the first time the top two on the tally are occupied by posthumously released albums.

At No. 3 on the new Billboard 200, the original Broadway cast recording of Hamilton: An American Musical falls one spot with 95,000 equivalent album units earned (down 7 percent). The album posts a gain in streaming activity for the week (72,000 SEA units earned; up 8 percent), as the filmed version of the Broadway show continues to stream on Disney+ (following its July 3 premiere on the service).

Four former No. 1s are next up on the chart, as Lil Baby’s My Turn dips 3-4 (58,000 equivalent album units earned; down 7 percent), Post Malone’s Hollywood’s Bleeding is steady at No. 5 (34,000; down 5 percent), DaBaby’s Blame It On Baby descends 4-6 (33,000; down 8 percent) and Harry Styles’ Fine Line is a non-mover at No. 7 (28,000 units; down 4 percent).

Summer Walker collects her second top 10 album, as Life On Earth debuts at No. 8 with just under 28,000 equivalent album units earned. Of that sum, 24,000 are in SEA units, 3,000 are in album sales and a negligible figure is in TEA units. The five-track Life On Earth project, billed as an EP, follows her previous top 10, the 18-track Over It, which debuted and peaked at No. 2 on the Oct. 19, 2019-dated chart.

Closing out the new top 10, The Weeknd’s former No. 1 After Hours falls 6-9 with 27,000 equivalent album units earned (down 8 percent) and Polo G’s The Goat slips 8-10 with nearly 27,000 units (down 6 percent).

Source: billboard.com

Lil Baby & DaBaby are featured on the late Pop Smoke’s first top 10.

DaBaby‘s “Rockstar,” featuring Roddy Ricch, posts a fifth week at No. 1 on the Billboard Hot 100.

Plus, late rapper Pop Smoke ranks in the Hot 100’s top 10 for the first time, as “For the Night,” featuring Lil Baby and DaBaby, debuts at No. 6. The song is from Pop Smoke’s first official full-length album, Shoot For the Stars Aim For the Moon, which launches at No. 1 on the Billboard 200 albums chart.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated July 18) will update on Billboard.com tomorrow (July 14).

“Rockstar,” released on SouthCoast/Interscope Records, tallies an eighth week at No. 1 on the Streaming Songs chart, with 42.4 million U.S. streams, down 3%, in the week ending July 9, according to Nielsen Music/MRC Data. It rises 3-2 on Digital Song Sales, although with a 16% decline to 13,000 sold in the same span. On Radio Songs, it surges 10-5 with 54.2 million airplay audience impressions, up 17%, in the week ending July 12, good for top Airplay Gainer honors on the Hot 100.

Notably, Roddy Ricch boasts the two longest-leading Hot 100 No. 1s of 2020 (encompassing 12 total No. 1s so far this year: 10 that have spent their first weeks on top since January and two that first led in 2019). Before the five-week reign of “Rockstar,” Roddy Ricch’s solo smash “The Box” dominated for 11 weeks; “Rockstar” breaks out of a second-place tie with The Weeknd’s four-week leader “Blinding Lights.”

“Rockstar” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric formula as the Hot 100, for a fifth week each.

The Weeknd’s “Blinding Lights” lifts 3-2 on the Hot 100. It leads Radio Songs for a 14th week (77.3 million, essentially even week-over-week), tying for the fifth-longest command since the chart began in December 1990. Here’s a recap of the longest-leading Radio Songs No. 1s:

Weeks at No. 1, Title, Artist, Date Reached No. 1
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
14, “Blinding Lights,” The Weeknd, April 18, 2020
14, “High Hopes,” Panic! at the Disco, Dec. 1, 2018
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996

“Blinding Lights” leads the multi-metric Hot R&B Songs chart for a 17th week, moving to within three frames of matching the longest No. 1 run on that chart, which started in October 2012. The Weeknd’s own “Starboy,” featuring Daft Punk, shares the record of 20 weeks at No. 1 (in 2016-17) with Bruno Mars’ “That’s What I Like” (2017) and Drake’s “One Dance,” featuring WizKid and Kyla (2016).

Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, dips to No. 3 on the Hot 100, after reaching No. 2 a week ago; Megan Thee Stallion’s former one-week leader “Savage,” featuring Beyoncé, holds at No. 4; and SAINt JHN’s “Roses” keeps at No. 5, after hitting No. 4.

Late rapper Pop Smoke appears in the Hot 100’s top 10 for the first time, as “For the Night,” featuring Lil Baby and DaBaby, debuts at No. 6. The song is from Pop Smoke’s first full-length, Shoot for the Stars Aim for the Moon, which bows at No. 1 on the Billboard 200. The track arrives at No. 2 on Streaming Songs (27.6 million) and No. 18 on Digital Song Sales (5,000).

With the track, Lil Baby adds his fifth Hot 100 top 10 and DaBaby earns his fourth.

Meanwhile, DaBaby ranks in three of the Hot 100’s top six spots, thanks to “Rockstar” (No. 1), “Whats Poppin” (No. 3) and “For the Night” (No. 6). He becomes just the seventh act in the Hot 100’s nearly 62-year history to have charted at least three songs in the top six slots simultaneously, after The Beatles (who did so for nine weeks in 1964), 50 Cent (seven, 2005), Drake (six, 2018), Justin Bieber (five, 2015-16), Ariana Grande (one week, 2019) and Usher (one, 2004). DaBaby is the first artist to earn the honor since Grande, who claimed the top three on Feb. 23, 2019 (becoming the second act, after The Beatles, in 1964, to collect such a triple at the top).

The news of Pop Smoke’s new chart successes follows the July 9 arrests of five people in connection with his Feb. 19 murder. The Brooklyn artist (real name: Bashar Barakah Jackson) died, at age 20, at his Hollywood Hills home of a gunshot wound after suspects with masks entered the residence and shot him.

Harry Styles’ “Watermelon Sugar” hits a new Hot 100 high (8-7), while Lil Mosey’s “Blueberry Faygo” also ascends a spot to a new best (9-8). Rounding out the top 10, Doja Cat’s former one-week No. 1 “Say So” drops 6-9 and Justin Bieber’s “Intentions,” featuring Quavo, slides 7-10, after reaching No. 5.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (July 14), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

It’s the first posthumous No. 1 since December 2018.

Pop Smoke’s Shoot for the Stars Aim for the Moon debuts at No. 1 on the Billboard 200 albums chart, giving the late rapper his first chart-topping effort. The set was released on July 3 via Victor Victor Worldwide/Republic Records and bows with 251,000 equivalent album units earned in the U.S. in the week ending July 9, according to Nielsen Music/MRC Data.

Shoot for the Stars is billed as Pop Smoke’s first studio album, following a pair of mixtapes: Meet the Woo, V.1 and Meet the Woo, V.2. The latter became his first top 10 when it debuted and peaked at No. 7 on the Feb. 22-dated chart.

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). The new July 18-dated chart (where Shoot for the Stars debuts at No. 1) will be posted in full on Billboard‘s website on July 14.

News of Shoot for the Stars’ No. 1 arrival comes shortly after five people were arrested on July 9 in connection with Pop Smoke’s murder on Feb. 19. The 20-year-old Brooklyn artist (real name: Bashar Barakah Jackson) died at his Hollywood Hills home of a gunshot wound after suspects with masks entered the residence and shot him.

Shoot for the Stars’ launch of 251,000 equivalent album units is powered by 190,000 SEA units (equating to 268.44 million on-demand streams of the 19 tracks on the album), 59,000 in album sales (supported by an array of merchandise/album bundle offers) and 3,000 in TEA units.

Sixth Biggest Week of 2020: All told, Shoot for the Stars’ haul of 251,000 units marks the sixth-biggest week of 2020 for any album, and the third-largest for a hip-hop album. It trails the debut weeks of The Weeknd’s After Hours (April 4-dated chart; 444,000 units), BTS’ Map of the Soul: 7 (March 7; 422,000), Lil Uzi Vert’s Eternal Atake (March 21; 288,000), Eminem’s Music to Be Murdered By (Feb. 1; 279,000) and Lady Gaga’s Chromatica (June 13; 274,000).

Fourth Largest Streaming Week of 2020: Shoot for the Stars’ bow of 190,000 SEA units — and 268.44 million streams — is the fourth-largest streaming week of 2020. It’s surpassed only by the debut week of Lil Uzi Vert’s Eternal Atake (March 21-dated chart; 278,000 SEA units; 400.42 million streams), the second week of Eternal (March 28; 239,000 SEA units; 348.72 million streams) and the debut frame of Drake’s Dark Lane Demo Tapes (May 16; 201,000 SEA units; 269.10 million streams).

First Posthumous No. 1 Album Since December 2018: Shoot for the Stars Aim for the Moon is the first posthumous album to reach No. 1 since XXXTentacion’s Skins opened atop the chart dated Dec. 22, 2018 (with 132,000 equivalent album units). The hip-hop artist died on June 18 of that year. Pop Smoke and XXXTentacion are two of four hip-hop artists with posthumous No. 1s. They follow The Notorious B.I.G. and 2Pac, who each have three posthumous leaders.

At No. 2 on the new Billboard 200, the original Broadway cast recording of Hamilton: An American Musical surges to a new peak, as the album vaults from No. 14 with 102,000 equivalent album units earned (up 294 percent). Of that sum, 32,000 are in album sales (up 592 percent).

The album is basking in the glow of the July 3 Disney+ streaming premiere of the filmed version of the Broadway stage show, with most of the original Broadway cast.

Of Hamilton’s unit haul of 102,000 for the week, 67,000 are in SEA units (equating to 90.41 million on-demand streams for the set’s tracks — easily the biggest streaming week ever for a cast recording), 32,000 are in album sales, and 4,000 are in TEA units.

The set previous peaked at No. 3 on the July 2, 2016-dated chart, following the 2016 Tony Awards, where the show won 11 trophies, including best musical.

With Hamilton’s rush back up the chart, it sets a couple new personal bests, as well as an eye-popping feat for cast recordings.

Highest-Charting Cast Album Since 1969: With Hamilton surging to No. 2, and surpassing its previous high of No. 3, the cast album is the highest charting cast album since the original cast recording of Hair spent 13 weeks at No. 1 in 1969 (on the April 26 through July 19-dated charts). Until this week, Hamilton was tied with the original Broadway cast recording of The Book of Mormon as the highest charting cast album since 1969, as Mormon peaked at No. 3 in 2011.

250 Weeks on the Chart: Hamilton celebrates its 250th week on the Billboard 200 chart. The set has never left the tally since its debut at No. 12 on the Oct. 17, 2015-dated list. That’s the longest run by any cast album since the highlights edition of the original London cast recording of The Phantom of the Opera, which has logged 331 weeks on the list between 1990 and 1996.

A Long, Long Climb to the Top Two: Hamilton reaches No. 2 in its 250th chart week (all consecutive) — the slowest climb to the top two ever on the chart in terms of weeks on chart.

Hamilton was released on Sept. 15, 2015, so it reaches the top two (and a new peak) just shy of the fifth anniversary of the album’s release.

The last album to take longer to reach the top two, in terms of counting between release date and peak date, is Tom Petty and The Heartbreakers’ Greatest Hits. The album re-entered at its peak of No. 2 on the Oct. 21, 2017-dated chart following Petty’s death on Oct. 2, 2017. The album was released on Nov. 16, 1993. When it re-entered at No. 2, it was the 235th week on the chart for the album, as it had not been charting consistently since 1993.

Largest Week, by Units, for a Cast Album: With 102,000 equivalent album units earned, Hamilton tallies the biggest week for any cast recording since Billboard and Nielsen Music/MRC Data began tracking albums by units in December 2014. Hamilton beats its own record, as it previously held the biggest week, by units, for a cast album since December 2014 — when it net 62,000 units on the July 2, 2016-dated chart.

Biggest Sales Week for a Cast Recording Since … Hamilton: With 32,000 copies of the album sold in the latest tracking week, Hamilton tallies the largest sales week for a traditional cast album since Hamilton itself moved 37,000 copies over the Christmas week of 2016 (reflected on the Jan. 14, 2017-dated charts). (Since then, one album categorized as a cast album sold more, but it’s not a traditional musical show recording: Bruce Springsteen’s one-man Broadway show Springsteen on Broadway saw its album open with 38,000 copies sold on the Dec. 29, 2018-dated chart.)

Hamilton – A Rare Hot-Selling Cast Album: Since Nielsen Music/MRC Data began electronically tracking sales in 1991, only five traditional musical cast recordings (six if you count Springsteen on Broadway) have ever sold at least 32,000 copies in a single week. Hamilton has now done it six times, the original Broadway cast recording of The Book of Mormon did it twice in 2011, the original Broadway cast recording of Rent managed it once (with its debut week of 43,000 in 1996), the original London cast recording of The Phantom of the Opera did it twice (once in 1992 and once in 1993) and then the Highlights edition of the original London cast recording of Phantom did it eight times between 1992 and 1996. (And then there’s Springsteen on Broadway, which opened with 38,000 sold in 2018.)

So far, Hamilton has sold 1.97 million copies in the U.S.

Back on the new Billboard 200 chart, Lil Baby’s My Turn falls from No. 1 to No. 3 with 62,000 equivalent album units earned (down 11 percent), while DaBaby’s former No. 1 Blame It On Baby slips from No. 3 to No. 4 with 36,000 units (down 8 percent).

Post Malone’s previous leader Hollywood’s Bleeding dips 4-5 with just under 36,000 units (down 8 percent).The Weeknd’s chart-topping After Hours shifts down 5-6 with a little more than 29,000 equivalent album units (down 7 percent), Harry Styles’ former No. 1 Fine Line backtracks 6-7 with 29,000 units (down 7 percent) and Polo G’s The Goat falls 7-8 with 28,000 units (down 8 percent).

Lil Uzi Vert’s former leader Eternal Atake descends 8-9 with 27,000 equivalent album units earned (down 11 percent), and Lil Durk’s Just Cause Y’all Waited 2 closes out the top 10, tumbling 2-10 with 27,000 units (down 36 percent, after its surge back up the chart a week ago, from No. 56, following its deluxe reissue with bonus tracks).

Source: billboard.com

“Rockstar” reigns; “Watermelon Sugar” & “We Paid” hit top tier.

DaBaby‘s “Rockstar,” featuring Roddy Ricch, tops the Billboard Hot 100 songs chart for a fourth week.

Plus, Jack Harlow‘s “Whats Poppin” vaults from No. 8 to No. 2 on the Hot 100 and two tracks reach the top 10: Harry Styles‘ “Watermelon Sugar” (16-8) and Lil Baby and 42 Dugg’s “We Paid” (18-10).

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated July 11) will update on Billboard.com tomorrow (July 7).

“Rockstar,” released on SouthCoast/Interscope Records, posts a seventh week at No. 1 on the Streaming Songs chart, with 43.7 million U.S. streams, up 15%, in the week ending July 2, according to Nielsen Music/MRC Data. It dips 2-3 on Digital Song Sales, although with a 32% gain to 16,000 sold in the same span. On Radio Songs, it pushes 12-10 with 46 million airplay audience impressions, up 16%, in the week ending July 5, becoming DaBaby’s second top 10, and first in a lead role, and Roddy Ricch’s third.

The song benefits from the release of its official video on June 26, as well as DaBaby and Roddy Ricch’s virtual performance of the track on the 2020 BET Awards on June 28.

“Rockstar” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric formula as the Hot 100, for a fourth week each.

Jack Harlow’s “Whats Poppin” soars 8-2 on the Hot 100. The rapper’s first Hot 100 entry jumps 5-2 on Streaming Songs (34.1 million, up 72%) and 23-11 on Digital Song Sales (10,000, up 109%), following the June 24 arrival of its DaBaby, Tory Lanez and Lil Wayne remix, as the song wins dual top Streaming and Sales Gainer honors on the Hot 100. It also rises 29-23 on Radio Songs (29.9 million, up 15%).

Now listed as featured artists on “Whats Poppin,” as the remix accounts for the bulk of the song’s activity in the tracking week, DaBaby adds his third Hot 100 top 10, Tory Lanez scores his first and Lil Wayne logs his 25th.

Thanks to “Rockstar” and “Whats Poppin,” DaBaby is the first act to claim the Hot 100’s top two spots simultaneously since Ariana Grande, who monopolized the top three on Feb. 23, 2019, with, in order from Nos. 1 to 3, “7 Rings,” “Break Up With Your Girlfriend, I’m Bored” and “Thank U, Next,” becoming the second act, after The Beatles in 1964, to earn such a triple. Over the Hot 100’s history, which dates to Aug. 4, 1958, DaBaby is the 20th act to concurrently rank at Nos. 1 and 2 in at least one week.

Lil Wayne, meanwhile, becomes the 12th act with at least 25 Hot 100 top 10s, following Drake and Madonna, the leaders with 38 each, The Beatles (34), Rihanna (31), Michael Jackson (30), Mariah Carey, Stevie Wonder (28 each), Janet Jackson, Elton John (27 each) and Elvis Presley and Taylor Swift (also 25 apiece).

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” holds at No. 3. It leads Radio Songs for a 13th week (77.3 million, up 1%) and the multi-metric Hot R&B Songs chart for a 16th frame. Megan Thee Stallion’s former one-week Hot 100 No. 1 “Savage,” featuring Beyoncé, drops 2-4.

SAINt JHN’s first Hot 100 top 10 “Roses” slips to No. 5 from its No. 4 high. It also becomes his first Radio Songs top 10, rising 11-8 (46.7 million, up 11%). Doja Cat’s former one-week Hot 100 No. 1 “Say So” keeps at No. 6 and Justin Bieber’s “Intentions,” featuring Quavo, drops to No. 7 from its No. 5 best.

Harry Styles’ “Watermelon Sugar” surges 16-8 on the Hot 100. The song (which re-entered the chart at No. 64 and then rose 45-40-29-19-16 following the May 18 premiere of its official video) lifts 13-12 on Streaming Songs (15.3 million, up 7%), holds at No. 13 on Digital Song Sales (9,000, up 30%) and climbs 24-17 on Radio Songs (36.1 million, up 25%), good for the Hot 100’s top Airplay Gainer award.

Styles adds his third solo Hot 100 top 10, after “Adore You,” which reached No. 6 in April, and “Sign of the Times,” which debuted and peaked No. 4 in 2017. He also made six trips to the top 10, in 2012-15, as a member of One Direction, ranking as high as No. 2 with “Best Song Ever” in 2013.

With his third solo Hot 100 top 10, Styles passes former 1D bandmate Zayn for the most among members of the group. Zayn’s “Pillowtalk” topped the chart, upon its debut, for a week in 2016 and “I Don’t Wanna Live Forever (Fifty Shades Darker),” with Taylor Swift, hit No. 2 in 2017. The act’s Liam Payne has notched one top 10, “Strip That Down,” featuring Quavo (No. 10, 2017).

A slice of history: “Watermelon Sugar” becomes the second Hot 100 top 10, and highest-charting hit, with “watermelon” in its title. Mongo Santamaria Band’s “Watermelon Man” first tasted sweet success, reaching No. 10 in April 1963.

From watermelon to blueberry (well-timed for summer), Lil Mosey’s “Blueberry Faygo” holds at its No. 9 Hot 100 high.

Rounding out the Hot 100’s top 10, Lil Baby and 42 Dugg’s “We Paid” bounds 18-10. The song ascends 4-3 on Streaming Songs (24.6 million, up 11%), while gaining by 76% to 1.7 million in radio reach and 3% to 2,000 sold.

Lil Baby lands his fourth Hot 100 top 10, and second in three weeks, after “The Bigger Picture” debuted at its No. 3 peak on the June 27 chart. He previously reached No. 4 with “Drip Too Hard,” with Gunna, in October 2018, and No. 6 with “Yes Indeed,” with Drake, in June 2018.

42 Dugg earns his first Hot 100 top 10, after one prior chart entry, also with Lil Baby: “Grace” debuted and peaked at No. 48 in March. Both “We Paid” and “Grace” are from Lil Baby’s album My Turn, which spends a fifth week at No. 1 on the Billboard 200.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (July 7), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Album now has most weeks at No. 1 among all albums in 2020.

Lil Baby’s My Turn holds steady at No. 1 on the Billboard 200 albums chart, earning a fifth total week at the top of the chart. It sits tight for a fourth straight week with 70,000 equivalent album units earned in the U.S. in the week ending July 2 (down less than 1 percent), according to Nielsen Music/MRC Data. It spent its first week at No. 1 when it debuted atop the chart dated March 14.

With five weeks at No. 1, the set now owns the most weeks at the top in 2020 for any album, and the most in total since Post Malone’s Hollywood’s Bleeding locked up its fifth and final nonconsecutive week at No. 1 on Nov. 16, 2019.

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). The new July 11-dated chart (where My Turn is No. 1 for a fifth week) will be posted in full on Billboard‘s website on July 7.

My Turn was released on Feb. 28 via Quality Control/Motown/Capitol Records and marks Lil Baby’s fifth charting effort. Among those earlier four albums were a trio of top 10s: Street Gossip (No. 2, 2018), Drip Harder (with Gunna, No. 4; 2018) and Harder Than Ever (No. 3, 2018).

Notably, with a fifth week at No. 1, My Turn ties Boyz II Men’s II for the most weeks at No. 1 for a Motown album in the last 40-plus years. II also logged five nonconsecutive weeks at No. 1 (Sept. 17-24, Oct. 8, Oct. 29, 1994, and March 11, 1995).

Only two other Motown other albums have logged at least five weeks at No. 1: Stevie Wonder’s Songs in the Key of Life (14 nonconsecutive weeks, Oct. 16, 1976-Jan. 8, 1977, and Jan. 29, 1977) and Diana Ross & The Supremes’ Greatest Hits (five consecutive weeks, Oct. 28-Nov. 25, 1967).

My Turn was already the longest-leading album released by Quality Control. The label’s two earlier No. 1s, Migos’ Culture and Culture II, spent one week atop the list, respectively, in 2017 and 2018.

My Turn also continues to have the most weeks at No. 1 for any Capitol Records set since The Beatles’ greatest hits compilation 1 snared eight nonconsecutive weeks at No. 1 in late 2000 and early 2001 (Dec. 2, 2000; Dec. 23, 2000-Feb. 3, 2001).

My Turn leads a top 10 absent of any debuts — the third time that’s happened in the last four weeks. The chart also went without a bow in the top 10 on the June 27 and June 20 lists. However, while there are no new albums debuting in the top 10, there is a lot of reshuffling in the region — and one album jumps back into the top 10 after nearly two months.

Lil Durk’s Just Cause Y’all Waited 2 surges from No. 56 to a new peak of No. 2 with 43,000 equivalent album units (up 202 percent) after the set was reissued on June 26 with seven new tracks. Nearly all of that unit total was driven by streaming activity, with 41,000 of the sum from SEA units (up 200 percent).

The album debuted seven weeks ago at No. 5 (May 23 chart) with 57,000 units earned in its first week.

Just Cause Y’all Waited 2 is the latest in a series of R&B and hip-hop albums in 2020 that have seen chart benefits from a deluxe reissue. It follows other titles such as A Boogie Wit da Hoodie’s Artist 2.0 (80-3 on the July 4 chart; up 292 percent to 43,000 units after nine tracks were added to a deluxe edition on June 19 – 18 weeks after its release) and Lil Baby’s My Turn (5-3 on the May 16 chart; up 147 percent to 100,000 units after six tracks were added to the album on May 1 — nine weeks after its release).

Other sets that got a post-release boost from bonus tracks, but on a much swifter schedule: The Weeknd added three new songs to After Hours in its second week of release (helping it hold at No. 1 for a second week on April 11 with 138,000 units, down 69 percent) and Lil Uzi Vert’s Eternal Atake got 14 new songs in its second week (the set stayed steady at No. 1 for a second week on the chart dated March 28 with 247,000 units, down 14 percent). NAV’s Good Intentions didn’t even bother waiting a full week to add songs — as the album had 14 new songs added to its tracklist on May 11, just three days after its release on May 8. Good Intentions debuted at No. 1 on the Billboard 200 dated May 23 with 135,000 units.

Back in the new Billboard 200 top 10, a trio of former No. 1s are at Nos. 3-5, as DaBaby’s Blame It on Baby climbs one spot to No. 3 (40,000 equivalent album units; up 7 percent), Post Malone’s Hollywood’s Bleeding rises 5-4 (39,000 units; up 7 percent) and The Weeknd’s After Hours returns to the top 10, rising 11-5 (32,000 units; up 1 percent — a small percentage gain this week can yield a big positional jump, as the unit gap between titles in the top 10 is small). After Hours was in the top 10 just two weeks ago, and has only been out of the top 10 for two weeks in its 15-week chart run.

Another album returns to the top 10, but after a much longer time away from the region, as Harry Styles’ Fine Line bolts from No. 13 to No. 6 with 32,000 equivalent album units (up 4 percent). The set is up in SEA units (25,000; up 3 percent), album sales (6,000; up 3 percent) and TEA units (1,000; up 16 percent). The former No. 1, which opened atop the list and spent two weeks in charge, was last in the top 10 on the Feb. 8-dated tally.

The set continues to profit from the sustained popularity of its hit single “Adore You,” which hit No. 2 — a new peak — on the most recently published all-format Radio Songs airplay chart (dated July 4). The song peaked at No. 1 on the Pop Songs chart dated April 11 (the list ranks the most played songs of the week on top 40-formatted radio stations) and at No. 6 on the Billboard Hot 100 chart dated April 11 (the Hot 100 is an airplay/sales/streaming hybrid tally).

Also fueling Fine Line is the album’s latest hit, “Watermelon Sugar,” which, on the July 4-dated charts, climbed 35-24 on Radio Songs, 18-14 on Pop Songs and 19-16 on the Hot 100.

Polo G’s The Goat rises 10-7 on the new Billboard 200 with 31,000 equivalent album units earned (down 2 percent), Lil Uzi Vert’s former leader Eternal Atake shifts 9-8 with just under 31,000 units (down 3 percent) and Drake’s previous No. 1 Dark Lane Demo Tapes falls 7-9 with 30,000 units (down 5 percent).

Future’s former No. 1 High Off Life closes out the new top 10, as it steps 12-10 with 29,000 equivalent album units (down 8 pecent).

Source: billboard.com

“Whats Poppin” surges 18-8 & “Blueberry Faygo” bumps 11-9.

DaBaby‘s “Rockstar,” featuring Roddy Ricch, returns to No. 1 on the Billboard Hot 100 songs chart for a third total week in the top spot.

The song reclaims the throne from 6ix9ine and Nicki Minaj’s “Trollz,” which plummets to No. 34 on the Hot 100, after it debuted at No. 1 a week ago.

Plus, SAINt JHN‘s “Roses” reaches the Hot 100’s top five, rising from No. 8 to No. 4, and Jack Harlow and Lil Mosey earn their first top 10 each, as the former’s “Whats Poppin” jumps 18-8 and the latter’s “Blueberry Faygo” climbs 11-9.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated July 4) will update on Billboard.com tomorrow (June 30).

“Rockstar,” released on SouthCoast/Interscope Records, rebounds from No. 2 on the Hot 100, after it led the lists dated June 13 and 20. It posts a sixth week at No. 1 on the Streaming Songs chart, with 37.9 million U.S. streams (down 5%) in the week ending June 25, according to Nielsen Music/MRC Data. It lifts 3-2 on Digital Song Sales with 12,000 sold (down 7%) in the week ending June 25 and 14-12 on Radio Songs with 39.7 million airplay audience impressions (up 27%, good for the Hot 100’s top Airplay Gainer award) in the week ending June 28, hitting new highs on both charts.

“Rockstar” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric formula as the Hot 100, for a third week each.

The song should benefit on next week’s charts from the release of its official video on June 26, as well as DaBaby and Roddy Ricch’s virtual performance of the track on the 2020 BET Awards last night (June 28).

Megan Thee Stallion’s former one-week Hot 100 No. 1 “Savage,” featuring Beyoncé, rises 4-2 and The Weeknd’s former four-week leader “Blinding Lights” lifts 5-3. The latter leads Radio Songs for a 12th week (76.8 million, up 3%) and the multi-metric Hot R&B Songs chart for a 15th frame.

SAINt JHN’s “Roses” enters the Hot 100’s top five, rising 8-4. It pushes 8-7 on Streaming Songs (17.4 million, down 3%) and holds at No. 8 on Digital Song Sales (9,000, down 3%) and No. 11 on Radio Songs (41.9 million, up 19%).

SAINt JHN first released “Roses” in July 2016. Imanbek’s remix arrived last September, sparking the song’s global chart surge. The track led the Official UK Singles chart for two weeks beginning in March; it tops the multi-metric Hot Dance/Electronic Songs for a ninth week. The song was released on the Hitco Entertainment label, which achieves its first top five Hot 100 hit.

Justin Bieber’s “Intentions,” featuring Quavo, returns to its No. 5 Hot 100 high, from No. 7; Doja Cat’s former one-week No. 1 “Say So” is steady at No. 6; and Lil Baby’s “The Bigger Picture” drops to No. 7 following its debut at No. 3 a week earlier, as it keeps at No. 2 on Streaming Songs (27.1 million, down 31%).

Jack Harlow scores his first Hot 100 top 10, as “Whats Poppin” bounds 18-8. The rapper’s first Hot 100 entry jumps 13-5 on Streaming Songs (19.8 million, up 21%) and debuts at No. 23 on Digital Song Sales (5,000, up 92%), following the June 24 arrival of its DaBaby, Tory Lanez and Lil Wayne remix (in which DaBaby shouts out his chart success with “Rockstar,” rapping, “Still on the Billboard, the No. 1 song in UK”; indeed, the song, in addition to its Hot 100 reign, tops the Official UK Singles chart for a sixth week). The track advances 37-29 on Radio Songs (26 million, up 23%).

Lil Mosey likewise earns his first Hot 100 top 10, as “Blueberry Faygo” rises 11-9. The single ascends 12-11 on Streaming Songs (17.6 million, down 1%) and repeats at No. 13 on Radio Songs (36.5 million, up 14%), while increasing by 6% to 3,000 sold. The song samples Johnny Gill’s former Hot 100 top 10 “My, My, My,” which reached No. 10 in September 1990.

Rounding out the Hot 100’s top 10, Post Malone’s “Circles” returns to the region, rising 13-10 and logging a record-extending 39th week in the top 10. The song led the chart for three nonconsecutive weeks in November, December and January.

As noted above, 6ix9ine and Nicki Minaj’s “Trollz” free falls from No. 1 on the Hot 100, where it debuted a week ago, to No. 34. It slides 1-7 on Digital Song Sales (9,000, down 92%) and 3-18 on Streaming Songs (13.8 million, down 62%), although it gains by 97% to 2.3 million in radio reach. The song sets the record for the steepest drop from No. 1 to another rank in the Hot 100’s nearly 62-year history, with its 1-34 tumble doubling that of the prior record-holder, The Weeknd’s “Heartless,” which fell 1-17 on the Dec. 21, 2019-chart.

As for the biggest overall drop from No. 1, Mariah Carey’s “All I Want for Christmas Is You” disappeared from the chart entirely after it logged its third week on top on Jan. 4, 2020; of course, the departure was essentially owed to the end of the holiday season, as all 25 Yuletide titles on the chart that week were no longer on the Jan. 11 ranking. (“Worth it haaa another record!” Carey joked on Twitter in response to Billboard.)

Elsewhere on the Hot 100, Beyoncé’s “Black Parade” debuts at No. 37, as it launches at No. 1 on Digital Song Sales with 18,000 sold, following its June 19 release. The song is her eighth leader on the sales survey and first on her own since “Single Ladies (Put a Ring on It),” which dominated for three weeks in 2008-09.

With “Black Parade,” Beyoncé banks her 40th top 40 Hot 100 hit, becoming the 22nd artist in the chart’s archives to reach that level.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (June 30), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com