It’s the first country set to spend two weeks in a row at No. 1 since 2015. Plus: Why Don’t We logs career-high rank with debut of ‘The Good Times and the Bad Ones.’

Morgan Wallen’s Dangerous: The Double Album spends a second straight week at No. 1 on the Billboard 200 chart, earning 159,000 equivalent album units in the U.S. in the week ending Jan. 21 (down 40%), according to MRC Data. The album arrived atop the list a week ago with 265,000 units.

Dangerous is the first country album to spend two weeks in a row at No. 1 since Chris Stapleton’s Traveller in 2015 (charts dated Nov. 21-28 that year), and the first country set to spend its first two weeks at No. 1 since Luke Bryan’s Kill the Lights that year (Aug. 29-Sept. 5, 2015). Traveller debuted on the chart dated May 23, 2015 at No. 14, and was off the chart by October. It then re-entered at No. 1 on Nov. 21, 2015, after Stapleton’s multiple wins and well-received performance on the Country Music Association Awards on Nov. 4.

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 Jan. 30, 2021-dated chart (where Dangerous holds at No. 1) will be posted in full on Billboard‘s website on Jan. 26. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 159,000 equivalent album units earned in the tracking week ending Jan. 21, SEA units comprise 133,000 (down 26%, equaling 177.11 million on-demand streams of the album’s songs), album sales comprise 22,000 (down 70%) and TEA units comprise 4,000 (down 39%).

Since the Billboard 200 began ranking albums by equivalent album units in December of 2014, Dangerous is the first country set to log two weeks of at least 150,000 units.

Notably, in the last 12 months, Dangerous is just the fourth album, among all genres, to log at least two weeks of 150,000-plus units. It follows Taylor Swift’s Evermore, Juice WRLD’s Legends Never Die and Lil Uzi Vert’s Eternal Atake — all with two weeks each of 150,000-plus units.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 3-2 on the new Billboard 200 with 47,000 equivalent album units earned (up less than 1%). In the album’s 29 weeks on the chart, it has been absent from the top 10 for only one week (Jan. 2-dated chart, No. 11).

Why Don’t We nets a career-high chart rank as the group’s latest album The Good Times and the Bad Ones bows at No. 3. The set starts with 46,000 equivalent album units earned. Of that sum, 38,000 comprise album sales (making it the top-selling album of the week), 7,500 comprise SEA units (equating to 11.34 million on-demand streams of the album’s songs) and a little under 500 comprise TEA units.

Why Don’t We’s previous high on the Billboard 200 came with the quintet’s last album, 8 Letters, which debuted and peaked at No. 9 on the Sept. 15, 2018-dated chart.

The new album was led by the single “Fallin’,” which marked the act’s first Billboard Hot 100 hit, when it peaked at No. 37 on the Oct. 17, 2020, list. The track also marked the group’s fifth hit on the Pop Airplay chart, reaching No. 22 in November.

Taylor Swift’s former No. 1 Evermore dips 2-4 on the new Billboard 200 (41,000 equivalent album units earned; down 26%) and Ariana Grande’s previous leader Positions climbs 7-5 (39,000; up 17%).

As Republic Records is the distributing label for Dangerous, Shoot for the Stars …, Evermore and Positions, the company has four of the top five albums of the week. It’s the first time a label has claimed four-fifths of the top five since Republic itself did it on the Sept. 1, 2018-dated chart.

Lil Durk’s The Voice falls 5-6 on the new Billboard 200 with 37,000 equivalent album units earned (down 11%). Eminem’s former No. 1 Music to Be Murdered By jumps 19-7 with 33,000 units (up 51%) following the Jan. 15 release of the album’s deluxe reissue on CD. The deluxe edition, dubbed Music to Be Murdered By – Side B, added extra tracks to the year-old album and first dropped on digital retail and streamers on Dec. 18, 2020. A vinyl release of the deluxe package is due in August. (All versions of the album are tracked together on the chart.)

A trio of former No. 1s closes out the new top 10 on the Billboard 200, as The Weeknd’s After Hours falls 6-8 (33,000 equivalent album units; down 6%), Juice WRLD’s Legends Never Die is steady at No. 9 (32,000; up 3%) and Luke Combs’ What You See Is What You Get descends 8-10 (just under 32,000; up 1%).

Source: billboard.com

The song sports the best first-week streams for a proper first single by a female artist.

Olivia Rodrigo’s “Drivers License” debuts at No. 1 on the Billboard Hot 100 chart, peeling in as the most-streamed and top-selling song of the week.

The single, released Jan. 8, marks the 17-year-old’s first Hot 100 No. 1, following its first week of availability. The singer-songwriter and actress initially broke through with roles on Disney Channel’s Bizaardvark in 2016 and Disney+’s High School Musical: The Musical: The Series in 2019. Her background helped spark the high profile of “Drivers License,” which has also been buoyed by scrutiny about its lyrics, the song’s TikTok presence and a co-sign from Taylor Swift, among others.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 23) will update on Billboard.com tomorrow (Jan. 20). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Drivers License,” released on Geffen/Interscope Records, is the 1,116th No. 1 in the Hot 100’s 62-year history. It’s the 48th single to debut on top, and the first of 2021.

Here’s a deeper look at Rodrigo’s first road trip to No. 1 on the Hot 100, among other achievements.

Streams, sales & airplay: “Drivers License” drew 76.1 million U.S. streams and sold 38,000 downloads in the week ending Jan. 14, according to MRC Data. It also earned 8.1 million radio airplay audience impressions in the week ending Jan. 17.

The track debuts at No. 1 on both the all-genre Streaming Songs and Digital Song Sales charts, marking Rodrigo’s first leader on each list, while entering the Pop Airplay (No. 31) and Adult Pop Airplay (No. 37) radio rankings.

Record streams for a first promoted single: The 76.1 million opening-week U.S. streams for “Drivers License” mark a new weekly best for a female artist’s first single properly promoted to radio, streaming services and other platforms.

The sum is the best for any song in its first week of release since Cardi B’s “WAP,” featuring Megan Thee Stallion, soared in with 93 million U.S. streams in the week ending Aug. 13, 2020 (and atop the Hot 100 dated Aug. 22), the most for any track ever in its first week of availability.

… though it’s Rodrigo’s 2nd Hot 100 hit: Before “Drivers License,” Rodrigo charted one Hot 100 entry: “All I Want” (her metaphorical chart learner’s permit) spent two weeks on the tally, peaking at No. 90, where it debuted, in January 2020. “Want” is from High School Musical: The Musical: The Series (Music From the Disney+ Original Series); “Drivers License” is so far a stand-alone single, with Rodrigo’s debut EP expected this year.

Of the 48 singles to debut at No. 1 on the Hot 100, most have been, unsurprisingly, by established acts. Just seven have belonged to rising artists with less or comparable  chart history at the time of their entrances than Rodrigo. Lauryn Hill launched with “Doo Wop (That Thing)” in 1998, marking her first solo Hot 100 entry, after the Fugees had made three appearances in 1994-97 with her as a member. Clay Aiken (2003), Fantasia (2004) and Carrie Underwood (2005) all premiered at No. 1 with their first solo Hot 100 hits, their respective American Idol coronation singles “This Is the Night,” “I Believe” and “Inside Your Heaven.” In 2006, Taylor Hicks’ “Do I Make You Proud” opened at No. 1 after he won that season of Idol, although he charted one No. 69-peaking entry three weeks earlier.

Since then, Baauer’s “Harlem Shake” started atop the Hot 100 in 2013, concurrent with a methodology change that added YouTube data to the chart’s formula, while Zayn’s first solo entry after he departed One Direction, “Pillowtalk,” soared in at No. 1 in 2016.

Four just before ’04: The California-born Rodrigo is the most-recently-born artist to top the Hot 100. Born Feb. 20, 2003 (fun fact: she shares her birthday with Rihanna), Rodrigo takes the title from Jawsh 685, who was born Nov. 5, 2002, and led the list dated Oct. 17, 2020, with “Savage Love (Laxed – Siren Beat),” with Jason Derulo and BTS.

At 17 years and 11 months old, Rodrigo is the youngest artist at the time of topping the Hot 100 since Billie Eilish, who was 17 years, eight months and one week old when she led with “Bad Guy” in August 2019.

Four artists born in the 2000s have now ruled the Hot 100, one each born in 2000, 2001, 2002 and 2003: Rodrigo, Jawsh 685, Eilish (born Dec. 18, 2001) and 24kGoldn (born Nov. 13, 2000), whose “Mood,” featuring Iann Dior, drops to No. 2 after eight weeks at No. 1.

Geffen, Interscope in charge: The Geffen label ranks atop the Hot 100 for the first time since Nelly Furtado’s “Say It Right” led the list dated Feb. 24, 2007. Before that, Furtado and Geffen spent six weeks at No. 1 in 2006 with “Promiscuous,” featuring Timbaland.

Interscope scores its first Hot 100 No. 1 of 2021, after two, logged back-to-back, in 2020: Lady Gaga and Ariana Grande’s “Rain on Me” (last June 6) and DaBaby’s “Rockstar” (featuring Roddy Ricch), which began a seven-week reign the following frame (June 13).

Car tunes: Perhaps surprisingly, given the role of wheels as a motif in hit music dating to rock’s early days, Rodrigo parks any version of the word “drive” in the Hot 100’s top spot for the first time. Three other songs with “drive” in their titles have hit the top 10 (two by acts named for forms of transportation): The Cars’ “Drive” (No. 3, 1984), Incubus’ “Drive” (No. 9, 2001) and Train’s “Drive By” (No. 10). One prior Hot 100 hit includes “driver’s” in its title: “Driver’s Seat,” by Sniff ‘n’ the Tears (No. 15, 1979).

“License” has appeared in one prior Hot 100 song title (although via the word’s British English spelling): Billy Ocean’s “Licence to Chill” (No. 32, 1989). (A year earlier, Ocean topped the Hot 100 with his own hit about driving: “Get Outta My Dreams, Get Into My Car.”)

Check Billboard.com later this morning for a full rundown of the latest Hot 100’s entire top 10.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 23), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 20).

Source: billboard.com

Plus: Jazmine Sullivan starts at a career-best No. 4 with “Heaux Tales.”

Morgan Wallen’s Dangerous: The Double Album debuts at No. 1 on the Billboard 200 albums chart in record-setting fashion, as it garners the largest streaming week ever for a country album. The 30-song album — Wallen’s first leader — further logs the largest overall week, by units earned, for a country set in over two years.

Dangerous, released on Jan. 8 via Big Loud/Republic Records, starts with 265,000 equivalent album units earned in the U.S. in the week ending Jan. 14, according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 23, 2021-dated chart (where Dangerous debuts at No. 1) will be posted in full on Billboard‘s website on Jan. 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 265,000 equivalent album units earned in the tracking week ending Jan. 14, SEA units comprise 184,000 (equaling 240.18 million on-demand streams of the album’s songs), album sales comprise 74,000 and TEA units comprise 7,000. (Of Dangerous’ 74,000 in album sales, digital download album sales comprise 50,000.)

Dangerous is Wallen’s second full-length album, following 2018’s If I Know Me, which peaked at No. 13 on the Aug. 29, 2020-dated chart. It has spent over 110 weeks on the tally and earned 1.7 million equivalent album units, while its songs have accrued 2.4 billion on-demand streams.

Prior to Dangerous’ release, the singer-songwriter had snared 13 charting hits on the Hot Country Songs chart, including eight top 10s (two of which reached No. 1). On the all-genre Billboard Hot 100 chart, he’s placed 10 tunes, including the new album’s “7 Summers.” The latter debuted at No. 6, marking at the time only the second top 10 Hot 100 debut for a song by a solo male and no accompanying acts that has also appeared on Hot Country Songs.

Let’s take a look at some of the notable feats that Wallen achieves with Dangerous’ debut.

Largest Streaming Week for a Country Album: As Dangerous collected 184,000 SEA units, equaling 240.18 million on-demand streams of the set’s 30 songs, it lands the largest streaming week ever for a country album. It beats, more than doubling, the 102.26 million streams achieved by Luke Combs’ What You See Is What You Get in the week ending Oct. 29, 2020. That week, Combs’ then-year-old album was reissued with bonus tracks, bringing its total track count to 23. Upon its deluxe reissue, the album shot back to No. 1 on the Billboard 200 for its second week in the lead. It tallied its first week at No. 1 when it debuted in the top slot (chart dated Nov. 23, 2019).

Certainly, the fact that Dangerous has a whopping 30 songs greatly enhances its ability to accrue a large streaming total – as the stream count is based on the total streams across all of the album’s songs.

However, even if the album were trimmed down to the 18 least-streamed tracks (in the week ending Jan. 14), their sum of 105.08 million would still beat Combs’ former record.

Third-Largest Streaming Week for a Non-R&B/Hip-Hop Album: Dangerous clocks the third-biggest streaming week ever for a non-R&B/hip-hop album, trailing only Ariana Grande’s Thank U, Next (307.07 million in its debut week) and Taylor Swift’s Folklore (289.85 million, debut week). Overall, Dangerous has the 22nd-largest streaming week for an album.

Biggest Week for a Country Album in Over Two Years: The last country album to have a bigger week, by equivalent album units, was Carrie Underwood’s Cry Pretty, which launched with 266,000 units on the Sept. 19, 2018-dated chart. Unlike Dangerous, Cry Pretty’s first week was bolstered by sales generated from a concert ticket/album sale redemption offer. (Such offers no longer contribute sales to Billboard’s charts.)

Dangerous also has the ninth-biggest week for any album, of any genre, by units, in the last 12 months.

Only the 11th Country Album to Reach No. 1 on the Billboard 200 In the Last Five Years: Wallen brings a rare sight to the top of the Billboard 200, as Dangerous is only the 11th country set to reach No. 1 since January of 2016.

Strikingly, out of the 178 No. 1 albums since the Jan. 23, 2016-dated chart, only 11 were country titles (just 6.2%). Those 11 country No. 1s: Jason Aldean’s They Don’t Know (2016); Thomas Rhett’s Life Changes, Shania Twain’s Now, Kenny Chesney’s Live in No Shoes Nation, Luke Bryan’s What Makes You Country (2017); Aldean’s Rearview Town, Underwood’s Cry Pretty (2018), Rhett’s Center Point Road, Luke Combs’ What You See Is What You Get (2018; the latter had one weeks at No. 1 in both 2018 and 2019); Chesney’s Here and Now (2020); and now Wallen’s Dangerous (2021).

At No. 2 on the new Billboard 200, Taylor Swift’s Evermore slips one spot after three nonconsecutive weeks in the lead, with 55,000 equivalent album units earned (down 1%). Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is steady at No. 3 with 47,000 units (up 5%). Both titles were released by Republic Records, like Dangerous. In turn, Republic holds the top three for the third time in less than three months, and remains the only label to monopolize the top three since 2003, when Interscope pulled off the feat.

Jazmine Sullivan hits a career-high on the Billboard 200 as Heaux Tales bows at No. 4 with 43,000 equivalent album units earned. It beats her previous chart high of No. 6, achieved in the opening week of her debut set, and only other top 10, Fearless (Oct. 11, 2008 chart). Heaux Tales is the singer’s fourth charting effort, and first since 2015’s Reality Show debuted and peaked at No. 12 (Jan. 31, 2015).

Lil Durk’s The Voice falls from its No. 2 high to No. 5 with 42,000 equivalent album units earned (down 12%).

The Weeknd’s former No. 1 After Hours charges 14-6 with 35,000 units (up 34%). The latter benefits from the popularity of its latest single, and its new official video (released Jan. 5), for “Save Your Tears,” as well as The Weeknd’s widely-seen commercial touting his halftime performance at the upcoming Super Bowl (Feb. 7). Ariana Grande’s former No. 1 Positions falls 4-7 with 34,000 units (down 4%). Both After Hours and Positions were released via Republic Records, giving the label a stunning five of the top 10 albums – the first time a label group has claimed half of the top 10 in nearly a year (since the Feb. 1, 2020-dated chart when Interscope Geffen A&M achieved the distinction). Republic last had half of the top 10 on the Nov. 9, 2013-dated chart.

Closing out the top 10 on the new Billboard 200 are Luke Combs’ What You See Is What You Get (7-8 with a little over 31,000 units; down 3%), Juice WRLD’s Legends Never Die (holding at No. 9 with 31,000 units; up 4%) and Megan Thee Stallion’s Good News (6-10 with just under 31,000 units; down 5%).

Source: billboard.com

“Mood” rules for an eighth week, Bieber’s “Anyone” begins at No. 6 & AJR earns its first top 10 with “Bang!”

24kGoldn‘s “Mood,” featuring Iann Dior, adds an eighth total week at No. 1 on the Billboard Hot 100 songs chart.

Plus, Justin Bieber‘s “Anyone” debuts at No. 6 on the Hot 100, marking his 22nd career top 10, and AJR achieves its first Hot 100 top 10, as “Bang!” bumps from No. 11 to No. 9.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 16) will update on Billboard.com tomorrow (Jan. 12). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTISTS MENTIONED

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 17.5 million U.S. streams (essentially even week-over-week) and sold 6,000 downloads (down 11%) in the week ending Jan. 7, according to MRC Data. It also tallied 84.2 million radio airplay audience impressions (up 2%) in the week ending Jan. 10.

“Mood” spends an 11th week at No. 1 on the Radio Songs chart, rises 5-1 for a second total week atop Streaming Songs and drops 6-10 on Digital Song Sales. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 19th week each and Hot Rap Songs for a 13th frame, with all three charts using the same methodology as the Hot 100.

Ariana Grande’s “Positions” holds at No. 2 on the Hot 100. It ruled the Nov. 7-dated chart upon its debut.

The Weeknd’s “Blinding Lights” keeps at No. 3 on the Hot 100. The song spent four weeks at No. 1 (eventually ranking as the Hot 100’s top hit of all of 2020) and logs its 57th total week on the tally. It adds a record-extending 44th week in the top 10 and a record-furthering 35th week in the top five. The track also claims a seventh week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 41st frame atop Hot R&B Songs.

Justin Bieber’s “Holy,” featuring Chance the Rapper, repeats at No. 4 on the Hot 100, a notch below its peak reached in its debut week in October.

Rounding out the Hot 100’s top five, Chris Brown and Young Thug’s “Go Crazy” reaches the region, lifting 6-5 (79.6 million airplay impressions; 8.2 million streams; and 2,000 sold). The track completes the lengthiest ascent to the top five (35 weeks) for a song by lead males in the Hot 100’s 62-year history, and the third-longest overall, after Gabby Barrett’s “I Hope,” featuring Charlie Puth (45 weeks, 2020), and Imagine Dragons’ “Radioactive” (42 weeks, 2012-13).

Justin Bieber’s new single “Anyone” launches at No. 6 on the Hot 100, with 16.5 million streams and 22,000 sold in the week ending Jan. 7, following its Jan. 1 release. It also drew 14.2 million in radio reach in the week ending Jan. 10. The track opens at No. 1 on Digital Song Sales, where Bieber adds his 13th leader, passing Drake (12) for the most among solo males. Among all acts, only Taylor Swift (21) and Rihanna (14) have more. On Streaming Songs, “Anyone” arrives at No. 2.

As Bieber banks his 22nd Hot 100 top 10, he becomes one of 17 artists, and nine solo males, with at least that many over the chart’s history.

Most Billboard Hot 100 Top 10s
42, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
29, Taylor Swift
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
27, Elton John
25, Lil Wayne
25, Elvis Presley
23, Whitney Houston
23, Paul McCartney
23, The Rolling Stones
22, Justin Bieber
22, Eminem

Dua Lipa’s “Levitating,” featuring DaBaby, ascends 10-7 on the Hot 100 for a new high and Drake’s “Laugh Now Cry Later,” featuring Lil Durk, backtracks 7-8, after debuting at its No. 2 peak last August.

AJR crashes the Hot 100’s top 10 for the first time, as “Bang!” pushes 11-9 (52.5 million in radio reach; 8.6 million streams; and 11,000 sold). It holds at its No. 2 high on Digital Song Sales and ranks at No. 9 on Radio Songs, where it reached a No. 8 best beginning in late December.

The brother trio from New York, named after Adam, Jack and Ryan Met, charted three Hot 100 entries prior to “Bang!”: “I’m Ready” (No. 65 peak, 2014); “Weak” (No. 73, 2017); and “Burn the House Down” (No. 100, 2018). “I’m Ready” and “Weak” each reached No. 27 on the Pop Airplay chart. The band then hit No. 29 on Pop Airplay with “Sober Up,” featuring Rivers Cuomo (of Weezer), which marked the trio’s turn toward alternative, as the collab topped Alternative Airplay for two weeks in 2018. AJR has since added three more Alternative Airplay top 10s, including “Bang!,” which climbed to No. 2 in June 2020.

“Bang” this week holds at its No. 6 high on Pop Airplay, where it’s AJR’s first top 10, and climbs 5-4 on Adult Pop Airplay, where it’s the act’s first top five hit.

Meanwhile, with “Bang!” released on AJR/BMG/S-Curve, the AJR imprint makes its first appearance in the Hot 100’s top 10; the BMG label logs its second, after Lil Dicky’s “Freaky Friday,” featuring Chris Brown (No. 8, 2018; it was released on Dirty Burd/BMG/Commission); and S-Curve also scores its second, following Andy Grammer’s “Honey, I’m Good.” (No. 9, 2015; S-Curve/Hollywood).

Capping the Hot 100’s top 10, Gabby Barrett’s “I Hope” retreats 8-10 after reaching No. 3 in November, as it rules Hot Country Songs for a 24th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 16), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 12).

Source: billboard.com

Taylor Swift’s Evermore skips back to No. 1 on the Billboard 200 chart (dated Jan. 16) for a third nonconsecutive week, up from No. 2 a week ago. The album earned 56,000 equivalent album units in the U.S. in the week ending Jan. 7 (down 22%), according to MRC Data.

The album, now in its fourth week on the chart, spent its first two weeks atop the list (charts dated Dec. 26, 2020, and Jan. 2, 2021), before stepping aside to No. 2 for a week (Jan. 9 chart) when Playboi Carti’s Whole Lotta Red bowed at No. 1.

With Evermore’s third week in the lead, Swift now has a cumulative 51 weeks at No. 1 across all eight of her chart-topping albums. That ties Michael Jackson for the fourth-most weeks at No. 1 in the chart’s 65-year history. The two superstars only trail The Beatles (a record 132 weeks), Elvis Presley (67) and Garth Brooks (52).

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 Jan. 16, 2021-dated chart (where Evermore returns to No. 1) will be posted in full on Billboard‘s website on Jan. 12. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Evermore’s 56,000 equivalent album units earned in the tracking week ending Jan. 7, SEA units comprise 38,000 (equaling 50.43 million on-demand streams of the album’s songs), album sales comprise 16,000 and TEA units comprise 2,000.

Though Evermore had a 22% decline in units, that slide was tempered by the release of a deluxe edition of the album on Thursday, Jan. 7, the final day of chart’s tracking week. The new edition boasts two additional songs. (All versions of the album are combined for tracking purposes.)

Evermore captures the smallest unit total for a No. 1 album in nearly two years, since A Boogie Wit da Hoodie’s Hoodie SZN was No. 1 on the chart dated Feb. 16, 2019, with just 47,000 units. (The top of the chart can sometimes be a bit light in units at the start of the year, as few new albums are released in January. On the new chart, for example, there are no debuts within the top 100, and a week ago, there was just one debut on the entire list: Playboi Carti’s Whole Lotta Red at No. 1.)

Lil Durk’s The Voice climbs 3-2 in its third week on the list, a new peak, with 48,000 equivalent album units earned (down 28%). The Voice matches Lil Durk’s career-high on the list, as his last release, Just Cause Y’all Waited 2 peaked at No. 2 on the July 11, 2020-dated chart.

The Voice debuted at No. 46 on the chart dated Jan. 2, following just one day of activity, as the album was released on Thursday, Dec. 24 (the final day of the Jan. 2 chart’s tracking week). It then surged to No. 3 in its first full chart tracking week.

A trio of former No. 1s are next, as Pop Smoke’s Shoot for the Stars, Aim for the Moon rises 4-3 with 44,000 equivalent album units (down 3%), Ariana Grande’s Positions climbs 5-4 with 35,000 units (down 8%) and Playboi Carti’s Whole Lotta Red falls 1-5 in its second week with 33,000 units (down 66%). Megan Thee Stallion’s Good News bumps 7-6 with just over 32,000 units earned (down 4%).

The rest of the top 10 comprises former chart-toppers: Luke Combs’ What You See Is What You Get ascends 8-7 (32,000 equivalent album units earned; down 4%), Bad Bunny’s El Ultimo Tour del Mundo moves 9-8 (31,000; down 7%), Juice WRLD’s Legends Never Die jumps 11-9 (30,000; down 4%) and Lil Baby’s My Turn hops 13-10 (29,000; down 2%).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” makes a record re-entry at No. 3 as holiday hits recede.

24kGoldn‘s “Mood,” featuring Iann Dior, rebounds from No. 7 for a seventh total week at No. 1 on the Billboard Hot 100 songs chart. The song resurges as a sleighful of holiday hits drop on, or depart entirely from, the survey.

Plus, The Weeknd‘s former No. 1 “Blinding Lights” returns to the Hot 100 at No. 3, marking the highest re-entry in the chart’s history, and Dua Lipa‘s “Levitating,” featuring DaBaby, soars to the top 10 for the first time (27-10).

Meanwhile, Mariah Carey‘s “All I Want for Christmas Is You” falls to No. 9 on the Hot 100 from No. 1. Still, the carol was the most-streamed song of the week, even with Dec. 25 and the next six days after Christmas comprising the chart’s streaming tracking week.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 9) will update on Billboard.com tomorrow (Jan. 5). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 17.5 million U.S. streams (up 4%) and sold 7,000 downloads (up 39%) in the week ending Dec. 31, according to Nielsen Music/MRC Data. It also tallied 82.3 million radio airplay audience impressions (up 1%) in the week ending Jan. 3.

Notably, “Mood” makes its record-tying fourth separate ascent to No. 1 on the Hot 100. It first topped the chart dated Oct. 24, 2020, and remained atop the Oct. 31 survey; after dropping to No. 3 on the Nov. 7 chart, it led again on the lists dated Nov. 14, 21 and 28; “Mood” fell to No. 2 on Dec. 5 and rebounded for a sixth week at No. 1 on Dec. 12; it then dipped to Nos. 2, 5 and 7, successively, the last three weeks. Previously, only Drake’s “Nice For What” made four climbs to No. 1, in 2018.

“Mood” spends a 10th week at No. 1 on the Radio Songs chart and charges 33-5 on Streaming Songs and 22-6 on Digital Song Sales. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for an 18th week each and Hot Rap Songs for a 12th frame, with all three charts using the same methodology as the Hot 100.

A week ago, a one-week record nine holiday hits (led by Carey’s) infused the Hot 100’s top 10. With eight of those songs gone from the tier, Ariana Grande’s “Positions,” like “Mood,” makes a sizable rebound, from No. 14 to No. 2; it led the Nov. 7-dated chart upon its debut.

Also benefiting from the downturn of seasonal songs, combined with resulting boosts in multiple metrics for numerous non-holiday titles in their place (many of which were also aided by year-end retrospective play), The Weeknd’s “Blinding Lights” blasts back onto the Hot 100 at No. 3, with 56.9 million airplay audience impressions (up 26%), 12.5 million streams (up 7%) and 9,000 sold (up 82%).

“Lights” spent four weeks at No. 1 on the Hot 100 (eventually ranking as the chart’s top hit of all of 2020) and logs its 56th total week on the tally. (Digging into the details of the song’s re-entry at No. 3 on the Hot 100, after its 55th frame on the Dec. 26-dated chart, it did not appear on last week’s list, as it would’ve ranked below No. 25; per Hot 100 rules, songs with more than 52 weeks on the chart are removed if below No. 25 [and those with more than 20 weeks are removed if below No. 50]. As Yuletide hits have dashed up the Hot 100’s upper ranks in recent holiday seasons, followed by their swoons after Christmas, non-seasonal songs are eligible to re-enter once holiday titles decline, if meeting all chart eligibility rules. Below “Lights,” 10 other hits re-enter in the top 50.)

“Lights” scores a record-extending 43rd week in the Hot 100’s top 10. It also adds a sixth week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 40th frame atop Hot R&B Songs.

Rounding out the Hot 100’s top five, Justin Bieber’s “Holy,” featuring Chance the Rapper, flies 21-4, after debuting at its No. 3 high in October, and BTS’ “Dynamite” vaults 44-5, after it debuted atop the chart in September and logged three total weeks at the summit. “Dynamite” posts a 12th week at No. 1 on Digital Song Sales (45,000, up 183%).

Chris Brown and Young Thug’s “Go Crazy” hurtles 24-6 on the Hot 100, surpassing its prior No. 9 high reached in August (as it returns to the top 10 after 19 subsequent weeks all in the top 25); Drake’s “Laugh Now Cry Later,” featuring Lil Durk, darts 25-7, after debuting at its No. 2 peak in August; and Gabby Barrett’s “I Hope,” featuring Charlie Puth, jumps 30-8 after rising to No. 3 in November, as it rules Hot Country Songs for a 23rd week.

Carey’s “All I Want for Christmas Is You” drops from No. 1 to No. 9 on the Hot 100, with 22.7 million U.S. streams (down 59%) and 4,000 sold (down 66%) in the Dec. 25-31 tracking week. It also tallied 1.4 million radio airplay audience impressions (down from 33.7 million) in the Dec. 28-Jan. 3 tracking period.

Despite the streaming tracking week covering Dec. 25 and the next six days after Christmas, the song, originally released in 1994, remains atop Streaming Songs, where it reigns for a 10th total week. A week earlier, “Christmas” claimed its fifth total week atop the Hot 100, passing the domination of the only other holiday No. 1 in the chart’s history, “The Chipmunk Song” by The Chipmunks with David Seville (four weeks, 1958-59).

Closing out the Hot 100’s top 10, Dua Lipa’s “Levitating,” featuring DaBaby, zooms 27-10, with 47.5 million in radio audience (up 5%), 10.2 million streams (down 1%) and 9,000 sold (up 2%).

Lipa adds her third Hot 100 top 10, following “Don’t Start Now” (No. 2 peak, March 2020) and “New Rules” (No. 6, February 2018). DaBaby collects his fifth Hot 100 top 10, all earned since June 2019.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 9), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 5).

Source: billboard.com

Plus: Lil Durk’s ‘The Voice’ soars 46-3 after its first full tracking week of availability.

Playboi Carti lands his first No. 1 on the Billboard 200 albums chart, as his Christmas Day release Whole Lotta Red debuts atop the tally. The rapper’s second studio album starts with 100,000 equivalent album units earned in the U.S. in the week ending Dec. 31, 2020, according to Nielsen Music/MRC Data.

Meanwhile, Lil Durk’s The Voice jumps 46-3 following its first full tracking week, after its debut a week ago from just one day of activity, as the set dropped on Dec. 24 (the final day of the previous tracking week). It matches his previous chart high, achieved with Just Cause Y’all Waited 2, released earlier in 2020.

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 Jan. 9, 2021-dated chart (where Whole Lotta Red bows at to No. 1) will be posted in full on Billboard‘s website on Jan. 5. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Whole Lotta Red’s 100,000 equivalent album units earned in the tracking week ending Dec. 31, SEA units comprise 90,000 (equaling 126.43 million on-demand streams of the album’s songs), album sales comprise 10,000 and TEA units comprise a negligible number.

Whole Lotta Red, which was first announced in 2018, boasts 24 tracks and guest stars Future, Kid Cudi and Kanye West (who also executive-produced the set). The album is Playboi Carti’s second studio effort, following 2018’s Die Lit, which debuted and peaked at No. 3. So far, it has earned 1.1 million equivalent album units and net 1.67 billion on-demand streams for its tracks.

All told, Whole Lotta Red is the 24-year-old’s third charting set, as he also notched a self-titled mixtape in 2017, which reached No. 12. Earlier in 2020, Playboi Carti logged his first top 10 hit on the Billboard Hot 100 chart, as the featured artist on Drake’s “Pain 1993,” which topped out at No. 7 in May. The cut also hit No. 4 on Hot Rap Songs and No. 6 on Hot R&B/Hip-Hop Songs.

After two weeks at No. 1 on the Billboard 200, Taylor Swift’s Evermore falls to No. 2 with 71,000 equivalent album units earned (down 58%).

Lil Durk’s The Voice surges from No. 46 to No. 3 with 66,000 equivalent album units earned (up 191%) following its first full tracking week. It debuted on the chart a week ago with 23,000 units from just one day of activity, as it was released on Dec. 24, the final day of the previous tracking frame. The Voice is the rapper’s third top 10 effort and equals his chart high, achieved with his previous studio set, Just Cause Y’all Waited 2. It peaked at No. 2 on the July 1, 2020-dated chart following its deluxe reissue with seven bonus tracks.

Pop Smoke’s former leader Shoot for the Stars Aim for the Moon climbs 11-4 with 46,000 equivalent album units earned (down 3%), after spending its first week outside the top 10 since its debut at No. 1 on the July 18, 2020-dated chart. It’s one of a number of albums that bounce back to the top 10 – even with a decline in units – now that Christmas albums have departed the region completely. A week ago, a record-tying six holiday sets dotted the top 10.

Ariana Grande’s former No. 1 Positions steps 14-5 with 38,000 equivalent album units earned (down 13%), Swift’s previous leader Folklore rises 8-6 with 35,000 units (down 33%) and Megan Thee Stallion’s Good News vaults 17-7 with 34,000 units (down 9%).

A trio of former No. 1s closes out the top 10: Luke Combs’ What You See Is What You Get climbs 19-8 with nearly 34,000 units (down 5%), Bad Bunny’s El Ultimo Tour del Mundo rises 16-9 with almost 34,000 units (down 12%) and Eminem’s Music to Be Murdered By falls 3-10 with 33,000 units (down 65%).

Source: billboard.com

‘All I Want for Christmas Is You’ passes ‘The Chipmunk Song’ as the Hot 100’s longest-leading holiday No. 1.

Mariah Carey‘s “All I Want for Christmas Is You” returns to No. 1, from No. 2, on the Billboard Hot 100 songs chart for a fifth total week on top. The song, originally released on Carey’s album Merry Christmas in 1994, first reigned for three weeks last holiday season and added its fourth frame at No. 1 two weeks ago.

Meanwhile, three holiday classics reach the Hot 100’s top 10 for the first time: Dean Martin’s “Let It Snow, Let It Snow, Let It Snow,” up from No. 11 to No. 8; Wham!’s “Last Christmas” (14-9); and Chuck Berry’s “Run Rudolph Run” (29-10), as a one-week record nine holiday hits infuse the top 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 2, 2021) will update on Billboard.com tomorrow (Dec. 29). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTISTS MENTIONED

Carey’s “Christmas,” on Columbia Records/Legacy Recordings, drew 54.9 million U.S. streams (up 35%) and sold 12,000 downloads (up 24%) in the week ending Dec. 24, according to Nielsen Music/MRC Data. It also tallied 33.7 million radio airplay audience impressions (up 11%) in the week ending Dec. 27.

The carol spends a ninth total week at No. 1 on the Streaming Songs chart and rises 6-2 on Digital Song Sales and 17-13 on Radio Songs. It also rules the multi-metric Holiday 100 chart for a 45th week, of the chart’s 50 total weeks since the list launched in 2011; it has topped the tally for 30 consecutive weeks, dating to the start of the 2015-16 holiday season.

Here are other presents that Carey receives with the latest coronation of “Christmas”:

Most weeks at No. 1 for a holiday song: As it logs its fifth total week atop the Hot 100, “Christmas” solely claims the mark for the most time at No. 1 among holiday hits in the chart’s 62-year, five-month history. One other Yuletide track has led the list: “The Chipmunk Song,” by The Chipmunks with David Seville, for four weeks beginning in December 1958.

First song at No. 1 in three distinct years: Carey’s “Christmas” becomes the first song to rank at No. 1 on the Hot 100 in three distinct years: 2019, 2020 and, now, 2021. It has led the lists dated Dec. 21 and 28, 2019; Jan. 4, 2020; Dec. 19, 2020; and Jan. 2, 2021.

(As reported when “Christmas” crowned the Hot 100 two weeks ago, only one other song in the chart’s history boasts a longer span of appearing at No. 1: Chubby Checker’s “The Twist” first topped the chart dated Sept. 19, 1960; Thanks to new popularity among adult audiences, it led again on Jan. 13 and 20, 1962. Notably, the longevity of “The Twist” helped spark its No. 1 status on the Greatest of All-Time Hot 100 recap.)

One more, up to 84: Carey adds her record-extending 84th career week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.

Most Weeks at No. 1 on Hot 100
84, Mariah Carey
60, Rihanna
59, The Beatles
50, Boyz II Men
50, Drake

“Christmas” last year became Carey’s 19th Hot 100 No. 1, the most among soloists and lifting her to within one of The Beatles’ overall record 20. It also made Carey the first artist to have ranked at No. 1 on the chart in four distinct decades.

Happy new year: Carey has now placed at No. 1 on the Hot 100 in a record-extending 17 distinct years (per Hot 100 chart dates): 1990-2000, 2005-06, 2008 and, thanks to “Christmas,” 2019-21.

Next up are three acts that have each spent time atop the Hot 100 in 10 individual years: Paul McCartney/Wings (1971, 1973-76, 1978, 1980, 1982-84); Michael Jackson (1972, 1979-80, 1983-84, 1987-88, 1991-92, 1995); and Madonna (1984-87, 1989-92, 1995, 2000).

Record-extending span of No. 1s: The latest week on top for “Christmas” extends Carey’s artist record for the longest span of ranking at No. 1 on the Hot 100: 30 years and five months, dating to her first week at No. 1 on the chart dated Aug. 4, 1990, with “Vision of Love.”

When “Christmas” first hit No. 1 on the Hot 100 dated Dec. 21, 2019, Carey passed Cher, whose solo No. 1s span 27 years and five months, from “Gypsys, Tramps & Thieves” (from its first week at No. 1 in 1971) through “Believe” (through its last week on top in 1999). (If Cher’s career as half of duo Sonny & Cher were combined with her solo output, her No. 1 span would cover 33 years, seven months and two weeks, from Sonny & Cher’s “I Got You Babe,” which reached the top in 1965, through “Believe.”)

The next three songs on the Hot 100 all return to their peak positions first reached a year ago (on the Jan. 4, 2020-dated chart, whose top four mirrors this week’s top four): Brenda Lee’s 1958 classic “Rockin’ Around the Christmas Tree” rises 3-2; the late Bobby Helms’ “Jingle Bell Rock,” first released in 1957, rises 4-3; and the late Burl Ives’ “A Holly Jolly Christmas,” originally from 1964, pushes 6-4.

The Hot 100’s top five is decorated entirely by holiday songs for the first time, as, rounding out the region, Andy Williams’ “It’s the Most Wonderful Time of the Year,” originally from 1963, rises 7-5, besting its prior No. 6 high. Williams adds his third top five Hot 100 hit, following “Lonely Street” (No. 5, November 1959) and “Can’t Get Used to Losing You” (No. 2, April 1963).

Williams breaks the record for the longest break between top five Hot 100 hits: 57 years, seven months and three weeks. He narrowly passes Lee, whose “Rockin’ ” last year returned her to the top five after a wait of 57 years and three weeks.

Jose Feliciano’s “Feliz Navidad” hits a new No. 6 Hot 100 high, up from No. 10, two weeks after reaching the top 10 for the first time, 50 years after its original 1970 release.

24kGoldn’s “Mood,” featuring Iann Dior, is the only non-holiday song in the Hot 100’s top 10, dropping 5-7 after six nonconsecutive weeks at No. 1, as it leads Radio Songs for a ninth week (81.3 million in audience, down 2%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 17th week each and Hot Rap Songs for an 11th frame (with all three charts using the same methodology as the Hot 100).

Amid the flurry of holiday hits, Dean Martin’s “Let It Snow, Let It Snow, Let It Snow,” which the late legend first released in 1959, climbs 11-8 on the Hot 100, reaching the top 10 for the first time, with 31 million streams (up 40%), 16 million in radio reach (down 3%) and 1,000 sold (up 15%).

Martin (who died on Christmas Day 1995) appears in the Hot 100’s top 10 with a fourth song, after posting his first three top 10s in 1964-65: “Everybody Loves Somebody” (No. 1, August 1964), “The Door Is Still Open to My Heart” (No. 6, November 1964) and “I Will” (No. 10, 1965).

Wham!’s “Last Christmas” likewise jingles to the Hot 100’s top 10 for the first time (14-9). First released in 1984, it ascends with 28.3 million streams (up 41%), 19.1 million in airplay audience (up 5%) and 6,000 sold (up 38%).

The duo of George Michael (who died in 2016; like Martin, on Christmas Day) and Andrew Ridgeley adds its seventh Hot 100 top 10, after charting its first six in 1984-86: the No. 1s “Wake Me Up Before You Go-Go,” “Careless Whisper” and “Everything She Wants”; the No. 3 hits “Freedom” and “I’m Your Man”; and the No. 10-peaking “The Edge of Heaven.” Wham! appears in the top 10 for the first time since Aug. 23, 1986 (the last week in the top 10 for “Heaven”); Subsequently, Michael notched 14 solo top 10s, including seven No. 1s, through 1996.

Rounding out the Hot 100’s top 10, Chuck Berry’s “Run Rudolph Run” soars 29-10. First released in 1958, the track sports 31.2 million streams (up 66%), 6.1 million airplay audience impressions (up 14%) and 5,000 sold (up 17%).

Berry, who died in March 2017, reins in his third Hot 100 top 10, after “No Particular Place to Go” (No. 10, July 1964) and his novelty hit “My Ding-a-Ling” (No. 1, two weeks, October 1972).

Meanwhile, “Rudolph” rewrites the record for the longest a song has taken to hit the Hot 100’s top 10 from its debut: As it first appeared on the chart dated Dec. 15, 1958 (just over four months after the survey’s inception), it reaches the top 10 after a journey of 62 years and two weeks. It passes the 60-year, two-week wait for Helms’ “Jingle Bell Rock” (Dec. 22, 1958-Jan. 5, 2019).

As noted above, a record-breaking nine holiday songs decorate the Hot 100’s top 10, after a then-high six did a week ago.

As for last week’s Hot 100 No. 1, Taylor Swift’s “Willow” plummets from its debut at the top spot to No. 38 (due, in part, to the influx of holiday hits above it). The song makes the greatest fall from No. 1 to another rank on the Hot 100 in the chart’s history, surpassing the 1-33 plunge for 6ix9ine and Nicki Minaj’s “Trollz” on the July 4-dated survey.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 2, 2021), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 29).

Source: billboard.com

Plus: Paul McCartney’s ‘McCartney III’ bows at No. 2, and Eminem’s former No. 1 ‘Music to Be Murdered By’ surges 199-3 after deluxe reissue.

Taylor Swift’s Evermore album holds atop the Billboard 200 chart for a second week, as the set earned 169,000 equivalent album units in the U.S. in the week ending Dec. 24 (down 49%), according to Nielsen Music/MRC Data. The album opened at No. 1 a week ago with 329,000 units.

Meanwhile, Paul McCartney’s new McCartney III debuts at No. 2 with 107,000 equivalent album units – of which 104,000 are in album sales. McCartney III is also the top-selling album of the week. Also, Eminem’s former No. 1 Music to Be Murdered By surges 199-3 after its deluxe reissue on Dec. 18 with 16 additional tracks. (All versions of the album, new and old, are combined for tracking purposes.)

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 Jan. 2, 2021-dated chart (where Evermore holds at to No. 1) will be posted in full on Billboard‘s website on Dec. 29. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Evermore’s 169,000 equivalent album units earned in the tracking week ending Dec. 24, album sales comprise just under 102,000 (down 34%), SEA units comprise 66,000 (down 61%, equaling 86.15 million on-demand streams of the album’s songs) and TEA units comprise a little a little over 1,000 (down 85%).

Evermore’s second week was aided by the arrival of the album on CD on Dec. 18. The set was only available to purchase as a digital download in its first week of release. Cassette and vinyl LP configurations are due in 2021.

Evermore is the companion set to her earlier No. 1 album Folklore, which bowed atop the Aug. 8-dated Billboard 200. Folklore descends 3-8 on the new Billboard 200 with 53,000 equivalent album units (down 61%). Both albums were released with little advance notice.

Paul McCartney’s McCartney III debuts at No. 2 on the Billboard 200 with 105,000 equivalent album units earned. Of that sum, 102,000 are in album sales – which also makes it the top-selling album of the week, as it debuts at No. 1 on the Top Album Sales chart. SEA units comprise 3,000 units (equating to 4.12 million on-demand streams of the album’s tracks), and TEA units comprise a negligible number.

McCartney III’s robust sales were aided by its availability across many CD and vinyl LP editions, including versions with alternative cover art or colored vinyl. The album was issued in more than 10 vinyl variants which combined to sell 32,000 copies – the third-largest sales week for a vinyl album since Nielsen Music/MRC Data began electronically tracking music sales in 1991. Only the debut weeks of Jack White’s Lazaretto (40,000) and Pearl Jam’s Vitalogy (34,000) were larger. McCartney III naturally also premieres at No. 1 on the weekly Vinyl Albums chart, which ranks the top selling vinyl LPs of the week. All told, McCartney III is McCartney’s 21st top 10 album on the Billboard 200. That tally includes his solo recordings and his albums with Wings.

Notably, McCartney is the first act to have a new album reach the top two in each of the last six decades. He reached the top two eight times in the 1970s and once each in the ’80s, ’90s, 2000s, ’10s and ’20s. (McCartney is additionally just the third act with new top 10 albums in the last six decades, alongside Bruce Springsteen and James Taylor. McCartney and Springsteen are the only acts with new top five-charting albums in the last six decades as well.)

Back on the new Billboard 200, Eminem’s former No. 1 Music to Be Murdered By surges from No. 199 to No. 3 after the album was surprise-reissued in a deluxe edition on Dec. 18 with 16 bonus tracks. The deluxe redux is dubbed Music to Be Murdered By: Side B. The original 20-track album was surprise-released on Jan. 17 and premiered at No. 1 on the chart dated Feb. 1. For tracking purposes, all versions of the album, new and old, are combined.

In the tracking week ending Dec. 24, Music to Be Murdered By earned 94,000 equivalent album units (up 1,125%). Of that sum, SEA units comprise 57,000 (up 761%, equaling 82.01 million on-demand streams of the 36 tracks), album sales comprise 33,000 (up 3,401%) and TEA units comprise 4,000 (up 3,868%).

With the latest tracking week ending on Dec. 24, Christmas Eve, the top 10 of the Billboard 200 is especially festive, as six holiday sets dot the region, mostly powered by streaming activity of their seasonal songs. (The top 10 last housed six holiday sets on the Jan. 5, 1959-dated chart, when Mitch Miller’s Christmas Sing Along With Mitch was tops and the entire top five were Christmas titles.)

Leading the six-pack of holiday albums in the top 10 on the latest Billboard 200 is Michael Bublé’s former No. 1 Christmas, which is steady at No. 4 with 77,000 equivalent album units (up 33%). Mariah Carey’s Merry Christmas jumps 10-5 (60,000; up 36%), Nat King Cole’s The Christmas Song hits a new high, as it climbs 8-6 with 60,000 units (up 33%, surpassing its previous peak of No. 7), Carrie Underwood’s 2020 release My Gift (the newest holiday album in the top 10) falls 6-7 (57,000; up 21%) and Pentatonix’s The Best of Pentatonix Christmas jingles 13-9 (51,000; up 24%).

Lastly, Vince Guaraldi Trio’s soundtrack to A Charlie Brown Christmas reaches the top 10 of the Billboard 200 for the first time, as the album rises 12-10 (50,000 equivalent album units earned; up 20%). The set was released in 1965 as the companion album to the animated TV special and did not reach any Billboard ranking until 1987. That year, it debuted on the Top Holiday Albums chart, where it later peaked at No. 2 (Jan. 27, 2007).

Source: billboard.com

As parent album “Evermore” opens atop the Billboard 200, Swift is the first artist to debut atop both charts simultaneously twice: “Folklore” & “Cardigan” began on top in August.

Taylor Swift‘s “Willow” blooms with a No. 1 debut on the Billboard Hot 100 songs chart. The track is her seventh Hot 100 leader and second of 2020.

Concurrently, parent album Evermore launches at No. 1 on the Billboard 200, as Swift is the first artist to debut atop both charts simultaneously twice. She became the first act to achieve the feat even once when her prior album Folklore and its single “Cardigan” opened atop the Billboard 200 and Hot 100 charts dated Aug. 8.

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

Here’s a deeper look at the coronation of “Willow,” released Dec. 11 on Republic Records, concurrent with Evermore. The song is the 1,115th No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: “Willow” drew 30 million U.S. streams and sold 59,000 downloads in the week ending Dec. 17, according to Nielsen Music/MRC Data. It also earned 12.3 million radio airplay audience impressions in the week ending Dec. 20.

The track debuts at No. 1 on the Digital Song Sales chart and No. 4 on Streaming Songs, while bubbling under the Radio Songs survey.

Breaking down the song’s first-week sales, seven purchase options were available in Swift’s webstore during the tracking week, with all discounted for the frame’s last 31 hours to between 48 cents and $1.03. Along with the song’s original version, its “dancing witch (Elvira remix),” “lonely witch” and “moonlight witch” versions were available individually. Plus, three versions were available as part of the song’s “Woodvale” collection: its “dancing witch,” “lonely witch” and “moonlight witch” iterations; for the collection, they were packaged with, respectively, an instrumental version of “Willow,” an original songwriting demo of “Willow” and a live version of her 2019 single “Christmas Tree Farm” (with each two-track “Woodvale” purchase counting as one sale for chart tabulation purposes).

First artist to debut atop Billboard 200 & Hot 100 simultaneously twice: As noted above, as “Willow” blossoms atop the Hot 100 and parent album Evermore soars in at No. 1 on the Billboard 200, Swift is the first artist to have debuted atop both charts simultaneously twice. She became the first act to achieve the feat even once, when Folklore and “Cardigan” roared in atop the Billboard 200 and Hot 100 charts dated Aug. 8. (The Billboard 200 began on March 24, 1956, and the Hot 100 originated on Aug. 4, 1958.)

One other act has made one such double debut: BTS, with Be and “Life Goes On” on the charts dated Dec. 5.

Swift’s seventh No. 1: Swift scores her seventh Hot 100 leader. Here’s a recap:

“We Are Never Ever Getting Back Together,” three weeks at No. 1, beginning Sept. 1, 2012
“Shake It Off,” four weeks, beginning Sept. 6, 2014
“Blank Space,” seven weeks, beginning Nov. 29, 2014
“Bad Blood,” feat. Kendrick Lamar, one week, June 6, 2015
“Look What You Made Me Do,” three weeks, beginning Sept. 16, 2017
“Cardigan,” one week, Aug. 8, 2020
“Willow,” one week to-date, Dec. 26, 2020

Swift is the 21st artist in the Hot 100’s history with at least seven No. 1s, and the seventh solo woman. The Beatles lead all acts with 20 No. 1s, followed by Mariah Carey with 19.

Third No. 1 debut: “Willow” is Swift’s third song to debut at No. 1 on the Hot 100, following “Shake It Off” and “Cardigan.” Swift becomes one of six acts with at least that many entrances, joining Ariana Grande, the leader with five, and Justin Bieber, Carey, Drake and Travis Scott with three each.

12th No. 1 debut this year: “Cardigan” is the 47th song to debut at No. 1 on the Hot 100. It’s the 12th to do so in 2020 (all since April), triple the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

20th No. 1 of 2020: “Willow” is the 20th song to score its first week at No. 1 on the Hot 100 in 2020. This year marks the highest total of songs earning their first weeks on top since Nielsen Music/MRC Data-based information began fueling the chart in November 1991 (and the most in a year since 27 songs ascended to No. 1 in all of 1991).

29 career top 10s: “Willow” is not only Swift’s seventh Hot 100 No. 1, but also her 29th top 10. She passes the totals of Carey and Stevie Wonder for a solo share of the sixth-best sum.

Here is a recap of the acts with the most Hot 100 top 10s, dating to the chart’s 1958 inception (two years after Elvis Presley’s commercial breakthrough):

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

19 career top 10 debuts: Swift extends her record among women for the most debuts in the Hot 100’s top 10, as “Willow” lifts her total to 19. Among all acts, only Drake has more: 27.

21 Digital Song Sales No. 1s: Swift adds her record-furthering 21st Digital Song Sales No. 1 with “Willow.” Rihanna ranks second with 14, followed by Bieber and Drake, each with 12.

Mariah Carey’s “All I Want for Christmas Is You” dips from No. 1 to No. 2 on the Hot 100. The song, first released on Carey’s album Merry Christmas in 1994 and which first reigned for three weeks last holiday season, added its fourth total week atop the Hot 100 a week ago. The carol drew 40.5 million U.S. streams (up 29%) and 30.8 million airplay impressions (up 12%) and sold 10,000 downloads (up 31%) in the latest tracking week.

The track spends an eighth total week at No. 1 on Streaming Songs and rises 8-6 on Digital Song Sales and 22-17 on Radio Songs. It also crowns the multi-metric Holiday 100 chart for a 44th week, of the chart’s 49 total weeks since the list launched in 2011; it has topped the tally for 29 consecutive weeks, dating to the start of the 2015-16 holiday season.

Brenda Lee’s 1958 classic “Rockin’ Around the Christmas Tree,” which reached No. 2 last holiday season, holds at No. 3 on the Hot 100, and the late Bobby Helms’ “Jingle Bell Rock,” first released in 1957, rises 5-4, after ascending to a No. 3 best last holiday season.

24kGoldn’s “Mood,” featuring Iann Dior, drops 2-5 on the Hot 100 after six nonconsecutive weeks at No. 1, as it leads Radio Songs for an eighth week (83.6 million streams, down 2%). It tops the Hot Rap Songs chart, which uses the same methodology as the Hot 100, for a 10th week.

“A Holly Jolly Christmas” by the late Burl Ives bounds 14-6 on the Hot 100. The holiday staple, first released in 1964, reached No. 4 last holiday season. Andy Williams’ “It’s the Most Wonderful Time of the Year,” from 1963, slips to No. 7, a week after hitting its No. 6 high.

Grande’s “Positions” retreats 4-8 on the Hot 100, after it led the Nov. 7-dated chart upon its debut.

BTS’ “Dynamite” resurges 24-9 on the Hot 100, up 7% to 8.5 million streams and 227% to 40,000 sold following the Dec. 11 release of its “holiday remix.” “Dynamite” debuted at No. 1 on the Sept. 5-dated Hot 100 and ruled for three total weeks.

Rounding out the Hot 100’s top 10, Jose Feliciano’s “Feliz Navidad” holds at its No. 10 high, a week after hitting the top 10 for the first time, 50 years after its original 1970 release.

Notably, a record-breaking six holiday songs decorate the Hot 100’s top 10, by Carey, Lee, Helms, Ives, Williams and Feliciano. As many as five holiday hits populated the top 10 on the chart dated Jan. 4, 2020, while the same amount infused the region last week.

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

Source: billboard.com