Plus: Mariah Carey’s ‘Merry Christmas’ returns to top 10.

Metro Boomin’s superstar-filled album Heroes & Villains debuts at No. 1 on the Billboard 200 chart (dated Dec. 17), giving the producer his third leader on the list. The 15-song set starts with his biggest week yet: 185,000 equivalent album units earned in the U.S. in the week ending Dec. 8, according to Luminate — largely driven by streaming activity.

Heroes & Villains boasts a cavalcade of heavy-hitters, including 21 Savage, A$AP Rocky, Chris Brown, Future, Gunna, John Legend, Travis Scott, the late Takeoff, Don Toliver, The Weeknd, Young Thung and unbilled spoken word cameos from Morgan Freeman.

Heroes & Villains is Metro Boomin’s seventh charting effort on the Billboard 200, and fifth to reach the top 10. He previously hit the region with Savage Mode II (a collaborative album with 21 Savage, No. 1 in 2020), Not All Heroes Wear Capes (No. 1, 2018), Double or Nothing (a collaborative set with Big Sean, No. 6 in 2017) and Without Warning (billed to 21 Savage, Offset and Metro Boomin, No. 4 in 2017).

On Sept. 16, Heroes & Villains was initially announced with a release date of Nov. 4. Then, on Oct. 26, the set was pushed to Dec. 2 due to sample clearance issues.

Also in the top 10 on the Billboard 200, Mariah Carey’s Merry Christmas returns, rising 11-10. The album, released in 1994, peaked at No. 3 that year, and has returned to the top 10 in each of the last four holiday seasons.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 17, 2022-dated chart will be posted in full on Billboard‘s website on Dec. 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Heroes & Villains’ 185,000 equivalent album units earned, SEA units comprise 179,000 (equaling 233.38 million on-demand official streams of the set’s tracks), album sales comprise 5,000 and TEA units comprise 1,000. The album’s sales were largely powered by its digital download album, though there was a CD available in limited quantities (including a signed version), which resulted in about 3,000 sales. In addition, on Dec. 5 the album was reissued in a deluxe edition on streamers and at digital retail with 15 bonus instrumental tracks of the album’s standard songs.

Following Heroes & Villains (released via Boominati/Republic) on the Billboard 200, a pair of former No. 1s is up next, as Taylor Swift’s Midnights (Republic) falls to No. 2 with 143,000 equivalent album units (down 5%) and Drake and 21 Savage’s Her Loss (OVO Sound/Republic) dips 2-3 with 78,000 (down 16%). Thus, Republic Records completes a sweep of the top three on the Billboard 200, the first time any label has held the top three since Republic itself did it on the Feb. 6, 2021-dated list. That week, the chart was led by Morgan Wallen’s Dangerous: The Double Album (Big Loud/Republic), Pop Smoke’s Shoot for the Stars Aim for the Moon (Victor Victor Worldwide/Republic) and Swift’s Evermore (Republic).

Bad Bunny’s chart-topping Un Verano Sin Ti falls 3-4 on the Billboard 200 with 55,000 equivalent album units earned (though up 5%). Michael Bublé’s former No. 1 Christmas is pushed down 4-5 despite a 16% gain to 54,000 units. Harry Styles’ No. 1 Harry’s House rises 9-6 with 49,000 units (up 42% — mostly owed to vinyl LP sales) and Wallen’s Dangerous descends 6-7, but with a gain of 16% to 47,000.

Wrapping up the top 10 are The Weeknd’s The Highlights (7-8 with 42,000 equivalent album units; up 5%), Nat King Cole’s The Christmas Song (8-9 with just over 40,000; up 13%) and Carey’s Merry Christmas (11-10 with 40,000; up 23%).

Source: billboard.com

Meanwhile, Mariah Carey’s “All I Want for Christmas Is You” climbs to No. 2.

Taylor Swift‘s “Anti-Hero” rules the Billboard Hot 100 songs chart for a sixth week, encompassing its entire run on the ranking so far. The single is just the 10th in the Hot 100’s history to have spent its first six weeks on the chart at No. 1.

Meanwhile, six holiday classics light up the Hot 100’s top 10, led by Mariah Carey’s “All I Want for Christmas Is You,” which rises from No. 5 to No. 2 and becomes the most-streamed song in the U.S., while two carols return to the region: Andy Williams’ “It’s the Most Wonderful Time of the Year” (19-9) and Wham!’s “Last Christmas” (23-10).

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 10, 2022) will update on Billboard.com tomorrow (Dec. 6). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 25-Dec. 1 tracking week, “Anti-Hero,” released on Republic Records, tallied 68.9 million radio airplay audience impressions (up 6%), 20.9 million streams (down 19%) and 13,000 sold (up 15%), according to Luminate. Aiding its sales sum, 10 previously-released versions of the song (its original, acoustic and instrumental versions; mixes featuring Bleachers; and its ILLENIUM, Jayda G, Kungs and Roosevelt remixes) were made available again in Swift’s webstore, discounted to 69 cents each, from late Nov. 30 through Dec. 1.

The single rebounds from No. 2 for a third week at No. 1 on the Digital Song Sales chart; holds at its No. 2 high on Radio Songs; and drops 2-6 after two weeks atop Streaming Songs.

As “Anti-Hero” tops the Hot 100 for a sixth week, Swift moves to within a week of her longest reign: “Blank Space” dominated for seven weeks in 2014-15.

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

Meanwhile, of the 64 singles that have debuted atop the Hot 100, “Anti-Hero” is just the 10th to have spent at least its first six weeks on the chart at No. 1.

Singles to Spend Their First Six Weeks on the Hot 100 at No. 1:
Title, Artist, Year(s), Weeks at No. 1 from debut (marking titles’ total weeks at No. 1 unless otherwise noted)
“Anti-Hero,” Taylor Swift, 2022 (six, to-date)
“Butter,” BTS, 2021 (seven / 10 weeks at No. 1 total)
“Drivers License,” Olivia Rodrigo, 2021 (eight)
“God’s Plan,” Drake, 2018 (11)
“Hello,” Adele, 2015-16 (10)
“Born This Way,” Lady Gaga, 2011 (six)
“Candle in the Wind 1997″/”Something About the Way You Look Tonight,” 1997-98 (14)
“I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997 (11)
“One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96 (16)
“Fantasy,” Mariah Carey, 1995 (eight)

Mariah Carey’s “All I Want for Christmas Is You” jingles 5-2 on the Hot 100, with 30.3 million streams (up 41%), 29.8 million airplay audience impressions (up 45%, good for top Airplay Gainer honors on the Hot 100), and 5,000 sold (up 59%). It surges 3-1 for 16th cumulative week atop Streaming Songs, 14-7 on Digital Song Sales and dashes 38-23 on Radio Songs. It also crowns the multi-metric Holiday 100 chart for a 53rd week, of the chart’s 58 total frames since the list launched in 2011; it has topped the ranking for 38 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

The song sports a record-setting history on the Hot 100, following its 1994 release on Carey’s 1994 album Merry Christmas. As streaming grew through the 2010s and holiday music became more prominent in Yuletide playlists on multiple streaming services, the song first hit the top 10 (reaching No. 9) in December 2017 and the top five (No. 3) in the 2018 holiday season. In December 2019, it ascended to the summit, 25 years after its original release, becoming the second holiday hit to reign, after “The Chipmunk Song” by David Seville & the Chipmunks spent four weeks at No. 1 beginning in December 1958.

“Christmas” became Carey’s 19th Hot 100 No. 1, as she extended her mark for the most leaders among soloists and pushed to within one of The Beatles’ overall record 20.

As “Christmas” dominated the Hot 100 for three weeks on the charts dated Dec. 21, 2019, through Jan. 4, 2020, Carey also became the first artist to have ranked at No. 1 on the survey in four distinct decades. The track led again for two weeks in the 2020 holiday season, passing “The Chipmunk Song” for the most for a seasonal song, and ruled for three more frames over the 2021 holidays, upping its total to eight weeks at No. 1.

Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, climbs 6-3 on the Hot 100. It has peaked at No. 2 in each of the last three holiday seasons. The song claims the Hot 100’s top Streaming and Sales Gainer awards, up 51% to 29.9 million streams and 292% to 4,000 sold, while also soaring by 30% to 26.2 million in radio reach.

Sam Smith and Kim Petras’ “Unholy” slips 3-4 on the Hot 100, after it topped the Oct. 29-dated chart, as it leads Radio Songs for a third week (77.4 million in audience, up 8%).

The late Bobby Helms’ “Jingle Bell Rock,” from 1957, rises 9-5 on the Hot 100 and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, advances 10-6. The standards have reached Nos. 3 and 4 respective peaks in each of the last three holiday seasons.

Drake and 21 Savage’s “Rich Flex” falls to No. 7 on the Hot 100 after spending its first three weeks on the chart at No. 2 (dating to its debut when Drake placed eight songs in the top 10 and 21 Savage, seven). The collab controls the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, for a fourth week each.

Steve Lacy’s “Bad Habit” descends 4-8 on the Hot 100, following three weeks at No. 1 in October. It concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 15th week each and Hot R&B Songs for a 13th frame.

Andy Williams’ 1963 chestnut “It’s the Most Wonderful Time of the Year” roars 19-9 on the Hot 100; it hit a No. 5 high in the 2020 holiday season. The song’s latest week in the top 10 extends the late Williams’ record for the longest span of an artist appearing in the tier to 63 years and two months, dating to his first week in the top 10 with “Lonely Street,” on the chart dated Oct. 12, 1959.

Rounding out the Hot 100’s top 10, Wham!’s “Last Christmas” jumps 23-10; released in 1984, the song by the duo of George Michael (who died in 2016) and Andrew Ridgeley first reached the top 10 during the 2020 holidays and lifted to a No. 7 high last holiday season.

Notably, Backstreet Boys’ new cover of “Last Christmas” spends a second week at No. 1 on Billboard‘s Adult Contemporary airplay chart. Praised Michael’s family and George Michael Entertainment on his official Facebook account of the coronation, “George would have been delighted. What a great start to December!”

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 6).

Source: billboard.com

Nat King Cole’s ‘The Christmas Song’ and Vince Guaraldi Trio’s ‘A Charlie Brown Christmas’ return to top 10.

Taylor Swift’s Midnights logs a fifth week atop the Billboard 200 albums chart (dated Dec. 10), while a flurry of holiday albums jingles in the top 10. Midnights earned 151,000 equivalent album units in the tracking week ending Dec. 1 in the U.S. (down 15%), according to Luminate. The last Swift album with more weeks at No. 1 is Folklore, which notched eight nonconsecutive weeks atop the list in 2020. Since then, she’s claimed four more chart-topping albums: Evermore (four weeks at No. 1 in 2020-21), Fearless (Taylor’s Version) (two weeks, 2021), Red (Taylor’s Version) (one week in 2021) and Midnights (five weeks so far).

Also in the top 10, catalog holiday albums powered by streaming activity make waves as Michael Bublé’s former No. 1 Christmas rises 10-4, Nat King Cole’s The Christmas Song vaults 18-8 and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack jumps 17-10.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 10, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 6). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights’ 151,000 equivalent album units earned, SEA units comprise 89,000 (down 24%, equaling 117.93 million on-demand official streams of the set’s tracks), album sales comprise 60,000 (up 5%) and SEA units comprise 2,000 (down 6%).

Five former No. 1s are Nos. 2-6 on the latest Billboard 200 chart. Drake and 21 Savage’s Her Loss holds at No. 2 (93,000 equivalent album units earned; down 22%), Bad Bunny’s Un Verano Sin Ti is stationary at No. 3 (52,000 units; down 7%), Bublé’s Christmas climbs 10-4 (47,000 units; up 55%), Lil Baby’s It’s Only Me falls 4-5 (43,000 units; down 10%) and Morgan Wallen’s Dangerous: The Double Album dips 5-6 (40,000 units; down 3%). The Weeknd’s compilation The Highlights descends 6-7 with 40,000 units (up 2%).

Cole’s The Christmas Song rises 18-8 with 36,000 equivalent album units (up 58%). The album, which includes such seasonal favorites like the title track and “O Holy Night,” peaked at No. 6 two holiday seasons ago, on the Jan. 2, 2021-dated chart. Harry Styles’ chart-topping Harry’s House falls 8-9 with 35,000 units (up 5%). Guaraldi Trio’s A Charlie Brown Christmas soundtrack jumps 17-10 with 33,000 units (up 45%). The seasonal set peaked at No. 6 nearly a year ago on the Jan. 1, 2022-dated list.

Source: billboard.com

Brenda Lee, Bobby Helms & Burl Ives also sleigh ride back to the Hot 100’s top 10.

Taylor Swift‘s “Anti-Hero” adds a fifth week at No. 1 on the Billboard Hot 100 songs chart, encompassing its entire run on the survey so far.

Meanwhile, four holiday classics jingle all the way back to the Hot 100’s top 10: Mariah Carey‘s “All I Want for Christmas Is You,” up from No. 25 to No. 5; Brenda Lee’s “Rockin’ Around the Christmas Tree” (41-6); Bobby Helms’ “Jingle Bell Rock” (50-9); and Burl Ives’ “A Holly Jolly Christmas” (a re-entry at No. 10).

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 3, 2022) will update on Billboard.com tomorrow (Nov. 29). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 18-24 tracking week, “Anti-Hero,” released on Republic Records, tallied 65.1 million radio airplay audience impressions (up 11%), 25.8 million streams (down 5%) and 12,000 sold (down 60%), according to Luminate.

The single rises 4-2 for a new best on the Radio Songs chart; holds at No. 2 after two weeks atop Streaming Songs; and falls to No. 2 after two weeks at the Digital Song Sales summit.

As “Anti-Hero” tops the Hot 100 for a fifth week, Swift solely scores her second-longest reign, passing the four-week rule of “Shake It Off” in 2014. Among her nine No. 1s, the two songs are bested only by the seven-week dominance of “Blank Space” in 2014-15.

Four weeks ago, “Anti-Hero” soared in atop the Hot 100, as Swift made history as the first artist to monopolize the chart’s entire top 10 in a single week, with all tracks all from her new album Midnights. Meanwhile, of the 64 singles that have debuted atop the Hot 100, “Anti-Hero” is just the 12th to have spent at least its first five weeks on the chart at No. 1, and the first since BTS’ “Butter” led in its first seven weeks in June-July 2021 (before pushing its total to 10 nonconsecutive weeks in the top spot).

“Anti-Hero” additionally hits No. 1 on the Adult Pop Airplay chart, becoming Swift’s ninth leader, and first since “Willow” for three weeks in April-May 2021. Among all acts since the chart began in Billboard’s pages in March 1996, only Maroon 5 (15) and P!nk (10) have notched more No. 1s. (As “Anti-Hero” also rises 6-3 on Pop Airplay, fellow Midnights cut “Lavender Haze” bullets at No. 31 and debuts at No. 36 on Adult Pop Airplay, as it is now being promoted as the set’s second pop radio single. Concurrently, the album’s “Snow on the Beach,” featuring Lana Del Rey, debuts at No. 36 on Adult Alternative Airplay.)

Drake and 21 Savage’s “Rich Flex” logs a third week on the Hot 100 at No. 2, dating to its debut – when Drake placed eight songs in the top 10 (and 21 Savage, seven). The team-up tallies a third week at No. 1 on Streaming Songs (30.9 million streams, down 14%), as well as a third week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Sam Smith and Kim Petras’ “Unholy” repeats at No. 3 on the Hot 100, after it topped the Oct. 29-dated chart, as it leads Radio Songs for a second week (71.9 million in audience, up 9%).

Steve Lacy’s “Bad Habit” holds at No. 4 on the Hot 100, following three weeks at No. 1 in October. The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 14th week each and Hot R&B Songs for a 12th frame.

Mariah Carey’s “All I Want for Christmas Is You” dashes 25-5 on the Hot 100, with 21.5 million streams (up 54%), 20.6 million airplay audience impressions (up 80%), and 3,000 sold (up 57%). It bounds 17-3 on Streaming Songs, 35-14 on Digital Song Sales and re-enters Radio Songs at No. 38. It also crowns the multi-metric Holiday 100 chart for a 52nd week, of the chart’s 57 total weeks since the list launched in 2011; it has topped the ranking for 37 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

The song sports a record-setting history on the Hot 100, following its 1994 release on Carey’s 1994 album Merry Christmas. As streaming grew through the 2010s and holiday music became more prominent in Yuletide playlists on multiple streaming services, the modern carol hit the top 10 (reaching No. 9) for the first time in December 2017 and the top five (No. 3) for the first time in the 2018 holiday season. In December 2019, it ascended to the summit, 25 years after its original release, becoming the second holiday hit ever to reign, after “The Chipmunk Song” by David Seville & the Chipmunks spent four weeks at No. 1 beginning in December 1958.

“Christmas” became Carey’s 19th Hot 100 No. 1, as she extended her mark for the most among soloists and moved to within one of The Beatles’ overall record 20.

As “Christmas” dominated the Hot 100 for three weeks on the charts dated Dec. 21, 2019, through Jan. 4, 2020, Carey also became the first artist to have ranked at No. 1 on the survey in four distinct decades. The track led again for two weeks in the 2020 holiday season, passing “The Chipmunk Song” for the most for a Yuletide song, and ruled for three more frames over the 2021 holidays, upping its total to eight weeks at No. 1.

Also returning to the Hot 100’s top 10 are three other holiday staples: Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958 (41-6); the late Bobby Helms’ “Jingle Bell Rock,” from 1957 (50-9); and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964 (No. 10 re-entry – as it becomes the first holiday song, and ninth song overall, to re-enter the Hot 100 in the top 10). The standards have peaked at Nos. 2, 3 and 4, respectively, in each of the last three holiday seasons.

Elsewhere in the Hot 100’s top 10, David Guetta and Bebe Rexha’s “I’m Good (Blue)” holds at its No. 7 high and Harry Styles’ “As It Was” dips 5-8, after 15 weeks at No. 1 beginning in April, the fourth-longest command in the chart’s history.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 3), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 29).

Source: billboard.com

Also in the top 10: Michael Jackson’s ‘Thriller’ returns, Rod Wave debuts & Michael Bublé brings ‘Christmas’ back.

Taylor Swift’s Midnights spends a fourth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Dec. 3) as it holds atop the list with 177,000 equivalent album units earned in the U.S. in the week ending Nov. 24 (down 13%), according to Luminate.

Also in the new Billboard 200’s top 10: Michael Jackson’s former No. 1 Thriller returns to the region after its 40th anniversary reissue, vaulting 115-7; Rod Wave’s new Jupiter’s Diary: 7 Day Theory bows at No. 9; and Michael Bublé’s chart-topping Christmas jingles its way back to the top 10 with a 19-10 climb.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Dec. 3, 2022-dated chart will be posted in full on Billboard‘s website on Nov. 29. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights’ 177,000 equivalent album units earned, SEA units comprise 118,000 (down 16%, equaling 155.8 million on-demand official streams of the set’s tracks), album sales comprise 57,000 (down 4%) and SEA units comprise 2,000 (down 49%).

Four former No. 1’s follow Swift on the new Billboard 200, as Drake and 21 Savage’s Her Loss is a non-mover at No. 2 (119,000 equivalent album units; down 30%), Bad Bunny’s Un Verano Sin Ti is steady at No. 3 (56,000; up less than 1%), Lil Baby’s It’s Only Me is also stationary at No. 4 (48,000; down 9%) and Morgan Wallen’s Dangerous: The Double Album rises 6-5 (42,000; up 2%).

Jackson’s former No. 1 Thriller returns to the top 10, jumping from No. 115 to No. 7 after it was reissued in celebration of its 40th anniversary. It earned 37,000 equivalent album units (up 283%). Of that sum, album sales comprise 27,500 (up 820%), SEA units comprise 9,000 (equaling 13.17 million on-demand official streams of the set’s tracks) and TEA units comprise 500.

Thriller spent 37 nonconsecutive weeks at No. 1 on the Billboard 200 in 1983-84 — the most weeks at No. 1 for an album by a singular artist. The only album with more weeks at No. 1 is the soundtrack to the film West Side Story, with 54 weeks in 1962-63.

Thriller was last in the top 10 of the Billboard 200 on the June 30, 1984-dated chart, when it ranked at No. 8. During its initial chart run, its last week on the list was April 20, 1985. It didn’t return to the list until Dec. 5, 2009, when the chart began allowing catalog (older) albums to chart again. (From May of 1991 through November 2009, catalog albums were generally not allowed to chart on the Billboard 200.)

For its 40th anniversary, Thriller was reissued in a variety of new configurations and formats, some with additional bonus tracks. All versions of the album, old and new, are combined together for tracking and charting purposes. Thriller has seen a few high-profile reissues in the past, including a remastered “special edition” in 2001 with previously unreleased bonus tracks and a 25th anniversary edition in 2008 with an unreleased song and new remix collaborations with Akon, Fergie, Kanye West and will.i.am.

Harry Styles’ former leader Harry’s House rises 9-8 on the new Billboard 200 with 33,000 equivalent album units (up 10%).

Rod Wave’s new eight-song Jupiter’s Diary: 7 Day Theory debuts at No. 9 on the Billboard 200 with nearly 31,000 equivalent album units earned. Of that sum, SEA units comprise a little more than 30,000 (equaling 43.32 million on-demand official streams of the set’s tracks), while album sales and TEA units comprise the remaining units. It’s the fifth consecutive and total top 10-charting album for the artist, and follows a pair of No. 1s in Beautiful Mind (2022) and SoulFly (2021).

Rounding out the new top 10 is Bublé’s former No. 1 Christmas, which rises 19-10 with 31,000 equivalent album units (up 51%%). The set was originally released in 2011 and spent five weeks at No. 1 in late 2011 and early 2012. It has returned to the top 10 in every Christmas season since.

Source: billboard.com

Swift ties her second-longest Hot 100 command.

Taylor Swift‘s “Anti-Hero” notches a fourth week at No. 1 on the Billboard Hot 100 songs chart, encompassing its entire run on the ranking so far.

Meanwhile, David Guetta and Bebe Rexha‘s viral collab-turned-multi-metric hit “I’m Good (Blue)” jumps to No. 7 on the Hot 100, becoming Guetta’s seventh top 10 and Rexha’s fourth.

Plus, Sam Smith and Kim Petras’ “Unholy,” at No. 3 on the Hot 100, takes over as the most-heard song on U.S. airwaves, as it tops the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 26, 2022) will update on Billboard.com tomorrow (Nov. 22). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 11-17 tracking week, “Anti-Hero,” released on Republic Records, tallied 58.6 million radio airplay audience impressions (up 14%), 27.3 million streams (down 12%) and 29,000 sold (down 91%), according to Luminate.

The single spends a second week at No. 1 on the Digital Song Sales chart; rebounds 11-2 after two weeks atop Streaming Songs; and jumps 9-4 for a new best on Radio Songs.

Notably, in the prior week, “Anti-Hero” vaulted by 1,793% to 327,000 sold, boosted by seven new remixes released Nov. 7-10. In the Nov. 11-17 tracking week, one remix of the song arrived (Nov. 17), with ILLENIUM.

Swift ties her second-longest Hot 100 rule, as “Shake It Off” led for four weeks in 2014. Among her nine No. 1s, the two hits are bested only by the seven-week reign of “Blank Space” in 2014-15.

Three weeks ago, “Anti-Hero” soared in at the Hot 100’s summit, as Swift made history as the first artist to monopolize the survey’s entire top 10 in a single week. Meanwhile, of the 64 singles that have debuted atop the Hot 100, “Anti-Hero” is just the 14th to have spent at least its first four weeks on the chart at No. 1, and the first since BTS’ “Butter” led in its first seven weeks in June-July 2021 (before upping its total to 10 nonconsecutive weeks in the top spot).

A week after Drake flooded the Hot 100’s top 10 with eight songs, all debuts, including seven with 21 Savage, the pair places four tracks in the region: “Rich Flex” logs a second week at No. 2, followed by “Major Distribution” (3-6); “Spin Bout U” (5-9); and “On BS” (4-10).

“Rich Flex” adds a second week at No. 1 on Streaming Songs (36.1 million streams, down 39%). It also posts a second week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Sam Smith and Kim Petras’ “Unholy” rebounds 10-3 on the Hot 100 (as longer-established hits ascend amid the waning of Swift and Drake’s recent top 10 onslaughts), after it topped the Oct. 29-dated chart. It also surges 5-1 on Radio Songs (66.3 million, up 17%, good for the Hot 100’s top Airplay Gainer award for a third consecutive week). Smith notches their third Radio Songs leader, following “Dancing With a Stranger,” with Normani (two weeks, 2019), and “Stay With Me” (six, 2014). Petras reigns in her first appearance on the airplay tally.

“Unholy” additionally hits No. 1 on the mainstream top 40-based Pop Airplay chart, becoming Smith’s second leader, after “Stay With Me” (two weeks, 2014), and Petras’ first.

Steve Lacy’s “Bad Habit” jumps 13-4 on the Hot 100, following three weeks at No. 1 in October. The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 13th week each and Hot R&B Songs for an 11th frame.

Harry Styles’ “As It Was” climbs 17-5 on the Hot 100, after 15 weeks at No. 1 beginning in April, the fourth-longest reign in the chart’s history.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” bounds 20-7 on the Hot 100, with 52.9 million in airplay audience (up 18%), 10.9 million streams (down 2%) and 6,000 sold (down 4%).

The song interpolates Eiffel 65’s “Blue (Da Ba Dee),” which hit No. 6 on the Hot 100 in 2000. (The original is the latest 2000s top 10 to appear in the region in a new form this year; notably, Jack Harlow’s “First Class,” which led for three weeks in April-May, reimagines Fergie’s 2007 two-week No. 1 “Glamorous,” featuring Ludacris.)

“[David] had played [“I’m Good”] at a festival after we had cut it, and somebody took a YouTube video of it and posted it,” Rexha recently told Billboard‘s Pop Shop Podcast. “Then somebody found that and made a remix and posted it to TikTok. Then this big gamer posted it from TikTok, and then it blew up from her page.

“It’s crazy, because you just never know what people want,” Rexha added. “Everybody was going crazy and being like, ‘We want this song! Why can’t we find it?’ And I was hitting up David [saying], ‘David, people really want this record! We should just put it out!’ At this point, it’s viral on TikTok, and people are asking for it. Let’s just give the people what they want. Let’s not judge it for what it is, and just put it out. It’s just a great, fun record.”

Guetta earns his seventh Hot 100 top 10 and first since “Hey Mama” – featuring Rexha, as well as Nicki Minaj and Afrojack (No. 8, 2015). He also joins the exclusive club of acts that have hit the top 10 in the 2000s, ’10s and now ’20s. Rexha posts her fourth top 10, following “Hey Mama”; “Me, Myself & I,” with G-Eazy (No. 7, 2016); and “Meant To Be,” with Florida Georgia Line (No. 2, 2018).

“I’m Good” concurrently adds a ninth week at No. 1 on the Hot Dance/Electronic Songs chart.

Elsewhere in the Hot 100’s top 10, Rihanna’s “Lift Me Up” leaps 22-8, two weeks after it debuted at No. 2. The ballad is from the soundtrack to Black Panther: Wakanda Forever, which premiered in theaters Nov. 11. Helped by buzz of the film’s record-breaking opening weekend (Nov. 11-13), the song scores the Hot 100’s top Sales Gainer nod (8,000 sold, up 16%), while also up 8% to 41.2 million in airplay audience and 5% to 12.5 million streams.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 26), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 22).

Source: billboard.com

Plus: Louis Tomlinson, Bruce Springsteen and Nas debut in top 10.

Taylor Swift’s Midnights returns to No. 1 on the Billboard 200 albums chart (dated Nov. 26) for a third nonconsecutive week on top, as the set rebounds 2-1 in its fourth week on the list. It earned 204,000 equivalent album units in the U.S. in the week ending Nov. 17 (down 32%), according to Luminate. The album spent its first two weeks atop the list, then stepped aside for one week when Drake and 21 Savage’s Her Loss bowed at No. 1.

Midnights is the first album to earn at least 200,000 units in each of its first four weeks of release since Adele’s 25 saw its first six weeks reach 200,000-plus (Dec. 12, 2015–Jan. 16, 2016).

Also in the new Billboard 200’s top 10: Louis Tomlinson lands his highest charting album with the No. 5 debut of Faith in the Future, Bruce Springsteen achieves his 22nd top 10-charting effort with the No. 8 arrival of Only the Strong Survive, and Nas captures his 16th top 10 with King’s Disease III’s bow at No. 10.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 26, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 22). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights’ 204,000 equivalent album units earned, SEA units comprise 140,000 (down 19%, equaling 184.04 million on-demand official streams of the set’s tracks), album sales comprise 60,000 (down 36%) and SEA units comprise 4,000 (down 88%).

After debuting at No. 1, Drake and 21 Savage’s Her Loss falls to No. 2 in its second week with 170,000 equivalent album units earned (down 58%). Two fellow former No. 1s are next on the list, as Bad Bunny’s Un Verano Sin Ti rises 4-3 (56,000; down 3%) and Lil Baby’s It’s Only Me dips 3-4 (52,000; down 15%).

Tomlinson’s second solo album, Faith in the Future, debuts at No. 5 on the Billboard 200, securing the pop artist his highest-charting effort and his best week yet in terms of both equivalent album units earned (43,000) and traditional album sales (37,500). It surpasses his previous high-water mark, logged with the No. 9 debut and peak of his first album Walls (Feb. 15, 2020, chart; 39,000 units — of which album sales comprised 35,000).

As album sales comprise 37,500 of Faith’s total first-week units, the remainder consists of SEA units (5,500; equaling 7.27 million on-demand official streams of the set’s tracks) and a negligible amount of TEA units.

Faith’s first-week sales figure was bolstered by its availability across multiple collectible physical variants of the album. The set was preceded by the single “Bigger Than Me,” which became Tomlinson’s fourth solo hit on the Pop Airplay chart (outside his tenure in One Direction).

Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover on the Billboard 200 at No. 6 (41,000 equivalent album units earned; down 1%) while The Weeknd’s The Highlights is also steady at No. 7 (40,000; up 2%).

Springsteen achieves his 22 nd top 10-charting album on the Billboard 200 as his new covers set, Only the Strong Survive, debuts at No. 8 with 39,500 equivalent album units earned. Of that sum, traditional album sales comprise 36,500, SEA units comprise 2,000 (equaling 2.87 million on-demand streams of the set’s tracks) and TEA units comprise 1,000. The soul and R&B covers collection includes Springsteen’s takes on such oldies as The Commodores’ “Night Shift,” Jimmy Ruffin’s “What Becomes of the Brokenhearted” and Diana Ross & The Supremes’ “Someday We’ll Be Together.”

With a 22nd top 10 album on the Billboard 200, Springsteen now solely has the eighth-most top 10s overall and the sixth-most top 10s among solo artists.

Here’s an updated look at all the acts with at least 20 top 10 albums on the Billboard 200 from March 24, 1956, when the list began publishing on a regular, weekly basis, through the latest chart, dated Nov. 26, 2022.

Most Billboard 200 Top 10s:
37, The Rolling Stones
34, Barbra Streisand
32, The Beatles
32, Frank Sinatra
27, Elvis Presley
23, Bob Dylan
23, Madonna
22, Bruce Springsteen
21, Elton John
21, Paul McCartney/Wings
21, George Strait
20, Prince

(Notably, the Kidz Bop Kids music brand has collected 24 top 10s, in 2005-16, with its series of kid-friendly covers of hit singles. The franchise’s early albums were performed by mostly anonymous studio singers, although later releases focused on branding named talent.)

Harry Styles’ former No. 1 Harry’s House drops 8-9 on the new Billboard 200 with 30,000 equivalent album units (down less than 1%).

Nas rounds out the top 10 as his latest release King’s Disease III starts at No. 10 with 29,000 equivalent album units earned. Of that sum, SEA units comprise 20,000 (equaling 26.47 million on-demand official streams of the set’s tracks), album sales comprise 8,500 and TEA units comprise 500.

King’s Disease III is the third in the King’s Disease series — the first two albums debuted and peaked at Nos. 5 and 3 in 2020 and 2021, respectively.

King’s Disease III marks Nas’ 16th top 10 on the Billboard 200, tying him with Jay-Z for the most top 10s among rap artists. Nas’ first top 10 came with It Was Written in 1996 (No. 1 for four weeks). Jay-Z logged his first top 10 in 1997 with In My Lifetime, Vol. 1 (No. 3) and last notched a new top 10 set with 4:44 in 2017 (No. 1 for two weeks).

Source: billboard.com

Of the rapper’s new top 10s, 7 are with 21 Savage, with all 8 from the pair’s new Billboard 200-topping album Her Loss.

Taylor Swift‘s “Anti-Hero” adds a third week at No. 1 on the Billboard Hot 100 songs chart, boosted by seven new remixes released between Nov. 7 and Nov. 10. Two weeks ago, the song soared in at the Hot 100’s summit, as Swift made history as the first artist to hold the survey’s entire top 10 in a single frame.

Meanwhile, Drake blasts in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, as the pair’s collaborative LP Her Loss launches at No. 1 on the Billboard 200 albums chart.

With Drake having claimed nine of the Hot 100’s top 10 spots on the chart for a week in September 2021 (concurrent with the chart start of his album Certified Lover Boy), he is now the only artist to have logged at least eight songs in the top 10 twice.

Plus, Drake extends his record total to 67 career Hot 100 top 10s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 19, 2022) will update on Billboard.com tomorrow (Nov. 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 4-10 tracking week, “Anti-Hero,” released on Republic Records, tallied 51.3 million radio airplay audience impressions (up 37%), 31.1 million streams (down 13%) and 327,000 sold (up 1,793%), according to Luminate.

The single surges 4-1 on the Digital Song Sales chart; falls to No. 9 after two weeks atop Streaming Songs; and jumps 14-9 on Radio Songs (which, as previously reported, is now based on Mediabase-monitored airplay data).

Swift scores her record-extending 25th Digital Song Sales No. 1 with “Anti-Hero,” which also takes top Sales Gainer honors on the Hot 100, sparked by seven remixes made available for purchase during the tracking week. Joining the song’s previously available original and instrumental versions, its Bleachers remix (explicit and clean) arrived Nov. 7 (first in Swift’s webstore, followed by its wide release at 12 a.m. ET Nov. 8). Its Roosevelt remix was released Nov. 9 (in Swift’s webstore, followed by its wide release Nov. 10), while its Jayda G remix, Kungs remix (including its extended version) and an acoustic version were all released Nov. 10. All versions of the song were discounted to 69 cents between 2:30 p.m. ET and midnight Nov. 10 in Swift’s webstore, and between 4 p.m. ET and midnight Nov. 10 at all other retailers; all were available for wide release, except for the Kungs extended remix and acoustic version, between 10 p.m. ET and midnight Nov. 10.

The song’s sum of 327,000 paid downloads makes for the biggest sales week for a song in over five years, since Swift’s own “Look What You Made Me Do” bounded in with 353,000 (Sept. 16, 2017). “Anti-Hero,” which debuted with 13,000 sold and moved 17,000 in its second frame, logs the largest third-week sales total for a track since Adele’s “Hello” (480,000, Nov. 28, 2015, after it sold a weekly record 1.1 million downloads and 635,000 in its second week).

“Anti-Hero” concurrently becomes Swift’s 16th Radio Songs top 10, and first since “ME!,” featuring Brendon Urie (No. 7, May-June 2019).

Drake roars in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, with all from their new collaborative album Her Loss.

Here’s a recap of the eight tracks new in the Hot 100’s top 10 – all by Drake and 21 Savage unless otherwise noted:

• No. 2, “Rich Flex”
• No. 3, “Major Distribution”
• No. 4, “On BS”
• No. 5, “Spin Bout U”
• No. 6, “Pussy & Millions” (feat. Travis Scott)
• No. 7, “Privileged Rappers”
• No. 8, “Circo Loco”
• No. 9, “BackOutsideBoyz” (Drake)

The eight songs above line up in the same order, infusing Nos. 1-8, respectively, on Streaming Songs, led by “Rich Flex” with 58.9 million streams. The total is the second-highest for a song this year, just below the 59.7 million that Swift’s “Anti-Hero” drew in its first week (Nov. 5).

“Rich Flex” begins as Drake’s record-padding 15th Streaming Songs No. 1 and 21 Savage’s third.

“Rich Flex” was also the top-selling Her Loss track in its first week (2,600), while “Circo Loco” drew the most all-format radio audience of any song on the set in that span (5 million), followed by “Rich Flex” (3.1 million).

In one swoop, Drake ups his career count from 59 to 67 Hot 100 top 10s, extending his record total (dating to his first top 10, “Best I Ever Had,” in 2009) over the chart’s 64-year history.

Notably, of his 67 Hot 100 top 10s, Drake has notched a likewise-record 49 as a lead artist. (Swift has been credited as the lead artist on all 40 of her top 10s, while Madonna ranks third with 37 top 10s as a lead act, among her 38 total.)

Most Billboard Hot 100 Top 10s:

• 67, Drake
• 40, Taylor Swift
• 38, Madonna
• 34, The Beatles
• 32, Rihanna
• 30, Michael Jackson
• 29, Elton John
• 28, Mariah Carey
• 28, Stevie Wonder
• 27, Janet Jackson
• 26, Justin Bieber
• 25, Lil Wayne
• 25, Elvis Presley (with the start of Presley’s career having predated the Hot 100’s inception)

Meanwhile, Drake becomes the only artist to have logged at least eight songs in the Hot 100’s top 10 twice, plus as many as seven concurrent top 10s in three distinct weeks. Prior to this week’s haul of eight top 10s courtesy of Her Loss, he posted nine alongside the chart arrival of his album Certified Lover Boy in 2021 and seven as Scorpion made its chart entrance in 2018.

Also thanks to Her Loss, 21 Savage boasts the fourth-most simultaneous Hot 100 top 10s.

Most Simultaneous Hot 100 Top 10s:

• 10, Taylor Swift, Nov. 5, 2022
• 9, Drake, Sept. 18, 2021
• 8, Drake, Nov. 19, 2022
• 7, 21 Savage, Nov. 19, 2022
• 7, Drake, July 14, 2018
• 5, Juice WRLD, July 25, 2020
• 5, The Beatles, April 11, 1964
• 5, The Beatles, April 4, 1964

In the rundown above, the Hot 100 has sported six instances of acts having amassed five or more simultaneous top 10s since July 2018, after only The Beatles had achieved the feat in two distinct weeks in 1964. As streaming has ascended in prominence in recent years, the select acts above have run up such lofty totals in weeks that high-profile albums of theirs have arrived. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption also helps explain certain acts having swelled their career top 10 totals to historic highs over relatively short spans in recent years.

21 Savage more than doubles his career Hot 100 top 10 total, from six to 13. He logged his most recent top 10 before this week as featured on Drake’s “Jimmy Cooks,” which became his second No. 1 and Drake’s 11th, and latest, leader upon its debut in July.

Thanks to his featured turn on the chart’s sixth-biggest song, Travis Scott earns his 11th Hot 100 top 10.

Meanwhile, “Rich Flex” premieres at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100. Drake dominates the rankings with a record-extending 26th and 27th track, respectively. 21 Savage leads each list with a fourth title.

Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” drops from No. 3 to No. 10, three weeks after it ascended to No. 1. The collaboration claims the chart’s top Airplay Gainer award for a second week, up 39% to 56.7 million impressions, as it flies 12-5 on Radio Songs. Smith notches their sixth Radio Songs top 10 and first since “Dancing With a Stranger,” with Normani, became their second No. 1 in 2019. Petras reaches the Radio Songs top 10 in her first trip to the tally.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 15).

Source: billboard.com

Drake now has a dozen No. 1 albums, while 21 Savage scores his third leader.

Drake and 21 Savage’s collaborative album, Her Loss, debuts at No. 1 on the Billboard 200 chart (dated Nov. 19) with the year’s biggest week for an R&B/hip-hop set and the fourth-largest streaming week ever for any album.

Her Loss launches with 404,000 equivalent album units earned in the U.S. in the week ending Nov. 10, according to Luminate. Streaming activity drove the bulk of that sum, to the tune of 513.56 million on-demand official streams of its 16 tracks.

Her Loss is the 12th No. 1 for Drake and the third leader for 21 Savage. Drake now solely has the third-most No. 1 albums on the Billboard 200 chart, since the list began publishing on a regular weekly basis in March of 1956. Ahead of him are only The Beatles, with a record 19 No. 1s and Jay-Z with 14. Drake was previously tied with Bruce Springsteen, Barbra Streisand and Taylor Swift, each with 11 No. 1s on the Billboard 200.

Her Loss was announced on Oct. 22 and then-slated for an Oct. 28 release. On Oct. 26, its release was postponed to Nov. 4. The set was released via streaming services and as an album download via digital retailers. A physical release for the set on CD or any other format has not been announced.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 19, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 15). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Her Loss’ 404,000 equivalent album units earned, SEA units comprise 391,000 (equaling 513.56 million on-demand official streams of the set’s tracks), album sales comprise 12,000 and SEA units comprise 1,000.

Biggest Week for an R&B/Hip-Hop Album in 2022: Her Loss tallies not just the largest week for any R&B/hip-hop set in 2022, but the biggest since Drake’s own Certified Lover Boy debuted at No. 1 more than a year ago, with 613,000 units on the Sept. 18, 2021-dated chart. Among all albums in 2022, Her Loss nets the third-biggest week by units earned, trailing only the No. 1 debuts of Taylor Swift’s Midnights (1.578 million; Nov. 5 chart) and Harry Styles’ Harry’s House (521,000; June 4).

Fourth-Largest Streaming Week Ever: Her Loss captures the fourth-largest streaming week ever for an album, by total on-demand official streams of its combined tracks (513.56 million). Drake owns three of the top four biggest streaming weeks, and half of the top 10 largest weeks.

The Nos. 1 and 2 biggest streaming weeks were logged by the debut frames of Drake’s Scorpion (745.92 million in 2018) and Certified Lover Boy (743.67 million, 2021), respectively. Swift’s Midnights debut is No. 3 (549.26 million, 2022) and Lil Wayne’s opening week with Tha Carter V is No. 5 (433.02 million, 2018). Nos. 6-10 are the debuts of Post Malone’s beerbongs & bentleys (431.34 million, 2018), Juice WRLD’s Legends Never Die (422.63 million, 2020) and Lil Uzi Vert’s Eternal Atake (400.42 million, 2020), the second week of Drake’s Scorpion (390.98 million, 2018) and the opening frame of Drake’s More Life (384.84 million, 2017).

A Dozen No. 1 Albums: Drake’s even dozen No. 1 albums on the Billboard 200 continues to pull him closer to Jay-Z, who has the record for the most No. 1s among solo acts, with 14. The Beatles have the most No. 1s among all artists, as the Fab Four has 19 leaders. Below is a list of every act with at least 10 No. 1 albums on the Billboard 200, since the list began publishing on a regular weekly basis in March of 1956.

Most Billboard 200 No. 1s:
19, The Beatles
14, Jay-Z
12, Drake
11, Bruce Springsteen
11, Barbra Streisand
11, Taylor Swift
10, Eminem
10, Elvis Presley
10, Ye (formerly known as Kanye West)

Taylor Swift’s Midnights falls to No. 2 on the latest Billboard 200 after spending its first two weeks atop the chart. The set earned 299,000 equivalent album units in the latest tracking week (down 13%). Lil Baby’s former No. 1 It’s Only Me dips 2-3 with 62,000 units (down 24%) and Bad Bunny’s chart-topping Un Verano Sin Ti slips out of the top three for the first time in its 27 chart weeks, as it shifts 3-4 with 58,000 units (down 8%).

Joji achieves his third top 10-charting effort on the Billboard 200 — all of which have debuted in the top five — as Smithereens opens at No. 5 with 57,000 equivalent album units earned. Of that sum, SEA units comprise 39,500 (equaling 52.95 million on-demand official streams of the set’s nine tracks), album sales comprise 17,500 and TEA units comprise a negligible sum. The set was led by the hit single “Glimpse of Us,” which became the artist’s first top 10 (and top 40) hit on the Billboard Hot 100, peaking at No. 8 on the July 2-dated list.

Rounding out the new Billboard 200’s top 10 are Morgan Wallen’s chart-topping Dangerous: The Double Album (falling 5-6 with 41,000 equivalent album units earned; though up 1%), The Weeknd’s The Highlights (6-7 with 39,000; down 4%), Styles’ Harry’s House (9-8 with 30,000; down 4%), Zach Bryan’s American Heartbreak (11-9 with 28,000; up 11%) and Steve Lacy’s Gemini Rights (17-10 with 27,000; up 32% following its release on vinyl on Nov. 4).

Source: billboard.com

Also in the top 10: Reissues spur returns for The Beatles’ Revolver and Baby Keem’s The Melodic Blue, while Kodak Black’s latest debuts.

Taylor Swift’s Midnights easily tops the Billboard 200 chart (dated Nov. 12) for a second week, following its blockbuster debut at No. 1 a week earlier. The set earned 342,000 equivalent album units in the U.S. in the week ending Nov. 3 (down 78%). A week ago, the album barged in at No. 1 with 1.578 million units, the largest weekly total since Adele’s 25 debuted with 3.482 million units (Dec. 12, 2015 chart).

Midnights has the largest second-week total for any album since Adele’s 25 tallied 1.162 million units in is second frame (Dec. 19, 2015, chart). Plus, Midnights’ second-week sum is the third-largest overall week of the year for any album. In 2022, the three largest weeks are Midnights’ debut (1.578 million), the debut of Harry Styles’ Harry’s House (521,000) and Midnights’ second week (342,000). One more note about the size of Midnights’ second-week – it’s so big, it’s larger than the total units earned by the Nos. 2-7 albums on the latest chart combined. A week ago, Midnights’ first week was larger than the Nos. 2-88 albums’ totals combined.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 12, 2022-dated chart will be posted in full on Billboard‘s website on Nov. 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights‘ 342,000 equivalent album units earned, SEA units comprise 224,000 (down 46%, equaling 294 million on-demand official streams of the set’s tracks), album sales comprise 114,000 (down 90%) and TEA units comprise 4,000 (down 79%).

Lil Baby’s former No. 1 It’s Only Me is a non-mover at No. 2 on the Billboard 200 (81,000 equivalent album units; down 26%), while Bad Bunny’s chart-topping Un Verano Sin Ti is stationary at No. 3 (62,000; down 7%).

The Beatles’ former No. 1 Billboard 200 album Revolver re-enters the chart at No. 4 following its deluxe special edition reissue on Oct. 28. The set earned 54,000 equivalent album units in the week ending Nov. 3 (up 1,963%). Of that sum, album sales comprise 46,000 (up 6,346%), SEA units comprise 7,000 (up 280%; equaling 8.78 million on-demand streams of the set’s tracks) and TEA units comprise 1,000 (up 1,237%).

Revolver was first released in 1966 and spent six weeks atop the chart (Sept. 10 – Oct. 15, 1966-dated charts). For its special edition, the album was reintroduced in a variety of expanded formats and editions, including many with previously unreleased tracks. All versions of the album, old and new, are combined for tracking and charting purposes.

The rerelease of Revolver is part of the ongoing series of expanded reissues of select studio albums by The Beatles. It follows reissues of Let It Be in 2021 (first released in 1970), Abbey Road in 2019 (first released in 1969), The Beatles in 2018 (often referred to as the White Album, first released in 1968) and Sgt. Pepper’s Lonely Hearts Club Band in 2017 (first released in 1967). All five albums originally hit No. 1 shortly after their release, and returned to the top 10 after their expanded reissues.

Morgan Wallen’s chart-topping Dangerous: The Double Album falls 4-5 on the Billboard 200 with 41,000 equivalent album units earned (down 6%), and The Weeknd’s The Highlights dips 5-6 with nearly 41,000 (up 3%).

Baby Keem’s The Melodic Blue returns to the top 10 after more than a year, vaulting 105-7, following the set’s expanded reissue and debut on vinyl (both on Oct. 28). Ten additional tracks were added to the album (bringing its total to 26 tracks), while the set’s original standard tracklist of 16 tracks bowed on vinyl LP.

The Melodic Blue earned 37,000 equivalent album units in the week ending Nov. 3 (up 267%). Of that sum, SEA units comprise 26,000 (equaling 35.76 million on-demand official streams of the set’s collected tracks), album sales comprise 11,000 (essentially all in vinyl sales) and TEA units comprise a negligible sum.

The Melodic Blue previously spent one week in the top 10, when it debuted and peaked at No. 5 on the Sept. 25, 2021-dated chart.

Kodak Black collects his fifth top 10-charting effort on the Billboard 200 as Kutthroat Bill: Vol. 1 debuts at No. 8 with 37,000 equivalent album units earned. Of that sum, SEA units comprise 34,000 (equaling 45.67 million on-demand official streams of the set’s tracks), album sales comprise 2,500 and TEA units comprise a negligible sum.

Rounding out the top 10 on the new Billboard 200 are two former No. 1s: Harry Styles’ Harry’s House, falling 8-9 with 31,000 equivalent album units (down 3%), and Beyoncé’s Renaissance, steady at No. 10 with 26,000 (down 12%).

Source: billboard.com