Taylor Swift notches her eighth No. 1 album on the Billboard 200 — and second of 2020 — as her surprise release Evermore arrives atop the list. Her latest studio album earned 329,000 equivalent album units in the U.S. in the week ending Dec. 17, according to Nielsen Music/MRC Data, marking the fifth-largest week of the year for any album.

Evermore was released on Dec. 11 via Republic Records with little warning, and was only available as a standard digital download album (across traditional digital retailers like iTunes, as well as Swift’s own official webstore) and a standard streaming album. Its CD edition did not arrive in stores until Friday, Dec. 18 (so expect sturdy sales in the album’s second week). Cassette and vinyl LP configurations are due in 2021.

Evermore is the companion set to her earlier surprise No. 1 album, Folklore, which bowed atop the Aug. 8-dated Billboard 200.

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 Dec. 26-dated chart (where Evermore debuts at to No. 1) will be posted in full on Billboard‘s website on Dec. 22. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Evermore’s 329,000 equivalent album units earned in the tracking week ending Dec. 17, SEA units comprise nearly 167,000 (equaling 220.49 million on-demand streams of the album’s songs), album sales comprise 154,500 and TEA units comprise a little under 8,000.

Eighth No. 1 Album: Swift continues to rack up No. 1 albums on the Billboard 200, as Evermore nets the superstar her eighth leader. She’s nearing Barbra Streisand’s all-time record among women of 11 leaders. The only other woman with more No. 1 albums than Swift is Madonna, with nine. Among all artists, The Beatles have the most No. 1s, with 19. Among all soloists, Jay-Z leads with 14.

Second No. 1 Album of 2020: Swift is the first woman, and third act, to net a pair of No. 1 albums on the Billboard 200 chart in 2020. Folklore was her first, when the album opened atop the Aug. 8-dated list. Pop group BTS also managed the feat with Be (Dec. 5) and Map of the Soul: 7 (March 7), as did rapper YoungBoy Never Broke Again with Top (Sept. 28) and 38 Baby 2 (May 9).

2020’s Fifth-Largest Week for an Album: With Evermore bowing with 329,000 equivalent album units, it collects the fifth-biggest week of 2020 for any album. It was bested only by the debut weeks of BTS’ Map of the Soul: 7 (422,000; March 7-dated chart), The Weeknd’s After Hours (444,000; April 4), Juice WRLD’s Legends Never Die (497,000; July 25) and Swift’s Folklore (846,000; Aug. 8).

Notably, Evermore’s first-week total units (329,000) and album sales (154,500) are the biggest for any album since merchandise/album bundles and concert ticket/album sale redemption offers both ceased to count towards chart sales as of Oct. 9. It’s also the biggest week for an album since physical albums bundled with a digital album could only be counted as a physical sale upon shipment to the customer (starting on Aug. 7). In the past, Swift’s albums, including Folklore, like many other albums, benefited from merchandise/album bundles and physical/digital combo offers. (Swift has never employed a concert ticket/album sale redemption offer.)

Remarkably, Evermore has the biggest week — both in equivalent album units and album sales — for an album that was only available as a digital download album and a streaming album, and without any bundles or physical/digital combo offers in over two years. The last album to post a bigger week with only a digital and streaming album, and no bundles of any sort (and no physical album either) was Drake’s Scorpion, when it debuted with 732,000 units (of which 160,000 were in album sales, all from its download album) on the July 14, 2018-dated chart.

Second-Largest Streaming Week of 2020 for a Non-R&B/Hip-Hop Album: As Evermore collected 167,000 SEA units in its first week, that equaled 220.49 million on-demand streams of the album’s songs — the second-biggest streaming week of 2020 for a non-R&B/hip-hop album. The only loftier week for a non-R&B/hip-hop set was earned by Swift’s Folklore, which arrived with 289.85 million streams of its songs.

Shortest Gap Between New No. 1 Albums by a Woman: Evermore debuts at No. 1 just four months and 18 days after Folklore opened atop the list dated Aug. 8. That’s the shortest gap between new No. 1s on the Billboard 200 chart ever by a woman since the tally became a regularly published weekly chart in March of 1956. Previously, the smallest wait between new No. 1s by a woman was five months and three days between the first weeks at No. 1 for Olivia Newton-John’s If You Love Me Let Me Know (Oct. 12, 1974) and Have You Never Been Mellow (March 15, 1975). Both titles spent one week at No. 1.

The last time an act had a shorter wait between No. 1s before Swift was BTS, when the group waited only a little over three months between Love Yourself: Tear (June 2, 2018) and Love Yourself: Answer (Sept. 8, 2018). Before that, Future landed back-to-back new No. 1s in successive weeks in 2017 (with his self-titled album March 11, 2017 and HNDRXX on March 18, 2017).

At No. 2 on the Billboard 200, Kid Cudi scores his fifth top 10 effort, as Man on the Moon III: The Chosen bows with 144,000 equivalent album units earned. Of that sum, 127,000 comprise SEA units (equaling 167.45 million on-demand streams of the set’s songs), 15,000 comprise album sales and 1,000 comprise TEA units.

Swift’s Folklore flies 11-3 on the Billboard 200 with 133,000 equivalent album units (up 249%), as its album sales ballooned to 106,000 (up 742%). The set’s sales got a huge boost from sale pricing and promotion in Swift’s official webstore of the Folklore vinyl LP (in assorted colored vinyl variants) and a signed CD edition of the album.

With Swift at Nos. 1 and 3, she’s the first woman to have two albums concurrently in the top three dating back to 1963 when Billboard 200’s then-separate mono and stereo LP charts folded back into one overall chart. The last act, overall, to have two albums in the top three at the same time was Future, on the March 18, 2017-dated chart, when HNDRXX debuted at No. 1 and his self-titled album was No. 2.

As Republic Records is the home of both Swift and Kid Cudi, the label lays claim to the entire top three for the second time in 2020. On the Oct. 31-dated chart, Folklore was No. 1, Pop Smoke’s Shoot for the Stars, Aim for the Moon (released via Victor Victor Worldwide/Republic) was No. 2, and 21 Savage and Metro Boomin’s Savage Mode II (released via Boominati/Slaughter Boomin/Republic/Epic) was No. 3. The label last achieved the feat in 2018, and is the only label to have held the top three since Interscope in 2003.

Michael Bublé’s former No. 1 Christmas is steady at No. 4 on the new Billboard 200 with 58,000 equivalent album units (up 6%).

Jack Harlow’s debut studio album Thats What They All Say starts at No. 5 with 51,000 equivalent album units. Of that sum, 48,000 comprise SEA units (equaling 66.21 million on-demand streams of the set’s songs), 2,000 comprise album sales and a little under 1,000 comprise TEA units. The album contains Harlow’s breakout hit “What’s Poppin,” which rose to No. 2 on the Billboard Hot 100 chart dated July 11.

Carrie Underwood’s My Gift dips 5-6 on the Billboard 200 with 47,000 equivalent album units (down 11%), Pop Smoke’s Shoot for the Stars, Aim for the Moon descends 6-7 with 46,000 units (down 4%), Nat King Cole’s The Christmas Song falls 7-8 with 45,000 units (up 8%), Bad Bunny’s El Ultimo Tour del Mundo drops 2-9 with a little over  44,000 units (down 23%) and Mariah Carey’s Merry Christmas is steady at No. 10 with 44,000 units (up 15%).

Source: billboard.com

Plus, Jose Feliciano’s “Feliz Navidad” hits the top 10 for the first time, 50 years after its original release.

Mariah Carey‘s “All I Want For Christmas Is You” returns to No. 1 on the Billboard Hot 100 songs chart, rising from No. 2. The song, first released on Carey’s album Merry Christmas in 1994 and which first reigned for three weeks last holiday season, adds its fourth total week atop the Hot 100, tying for the most time at No. 1 among holiday hits in the chart’s 62-year history.

The carol is one of a record-tying five Yuletide songs in the Hot 100’s top 10, joined by Brenda Lee’s “Rockin’ Around the Christmas Tree,” Bobby Helms’ “Jingle Bell Rock,” Andy Williams’ “It’s the Most Wonderful Time of the Year” and, in the top 10 for the first time, 50 years after its original release, Jose Feliciano‘s “Feliz Navidad.”

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

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

Here’s a deeper look at Carey’s ascent back to No. 1 on the Hot 100 with “All I Want For Christmas Is You,” on Columbia Records/Legacy Recordings.

Here’s a deeper look at Carey’s ascent back to No. 1 on the Hot 100 with “All I Want For Christmas Is You,” on Columbia Records/Legacy Recordings.

Streams, sales & airplay: “Christmas” drew 31.4 million U.S. streams (up 19%) and sold 7,000 downloads (up 8%) in the week ending Dec. 10, according to Nielsen Music/MRC Data. It also tallied 27.1 million radio airplay audience impressions (up 11%) in the week ending Dec. 13.

The track spends a seventh total week at No. 1 on the Streaming Songs chart and rises 9-8 on Digital Song Sales and 27-22 on Radio Songs. It also crowns the multi-metric Holiday 100 chart for a 43rd week, of the chart’s 48 total weeks since the list launched in 2011; it has topped the tally for 28 consecutive weeks, dating to the start of the 2015-16 holiday season.

(Since its release, the song has drawn 4.1 billion in total radio audience, 1 billion on-demand streams and 3.7 million in download sales in the U.S.)

Ties for longest-leading holiday hit: In December 2017, Carey’s “Christmas” hit the Hot 100’s top 10 for the first time, while a year ago it ascended to the summit at last, 25 years after its original release, becoming the second holiday hit ever to reign: “The Chipmunk Song,” by The Chipmunks with David Seville, spent four weeks at No. 1 beginning in December 1958. Carey’s hit this week, thus, matches The Chipmunks’ for the Hot 100’s longest-leading holiday hit.

No. 1 again after almost a year: Carey’s “Christmas” first topped the Hot 100 dated Dec. 21, 2019, and also led the lists dated Dec. 28, 2019, and Jan. 4, 2020. As it returns to No. 1 this week, on the chart dated Dec. 19, it reigns again after a break of 11 months and 15 days. Only one other song in the Hot 100’s history has returned to the summit after a longer break: Chubby Checker’s “The Twist” topped the Hot 100 dated Sept. 19, 1960, before, thanks to new popularity among adult audiences, it resurged to lead the lists dated Jan. 13 and 20, 1962, ruling again after a gap of a year, three months and three weeks. The latter’s longevity helped spark its No. 1 status on the Greatest of All-Time Hot 100 recap.

Carey’s record 83rd week atop Hot 100: With “Christmas,” Carey claims her record-extending 83rd 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
83, 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.

7 x 4: Of Carey’s 19 Hot 100 No. 1s, “Christmas” is her record-tying seventh to rule for four weeks or more. Here’s a rundown: 16 weeks at No. 1, “One Sweet Day” (with Boyz II Men), 1995-96 / 14 weeks, “We Belong Together,” 2005 / 8 weeks, “Fantasy,” 1995; “Dreamlover,” 1993 / 4 weeks, “All I Want For Christmas Is You,” 2019-20; “Hero,” 1993-94; “Vision of Love,” 1990.

Rihanna also boasts seven No. 1s (of her 14 total) that have each led for four or more weeks, including her longest-leading No. 1, “We Found Love” (10 weeks, 2011-12).

Historic No. 1 in U.S. & U.K.: Carey’s “Christmas” additionally makes international chart history, becoming the first holiday song to have topped both the U.S.-based Hot 100 and the Official UK Singles chart, where this week it reigns for the first time. (While just two seasonal songs have ever led the Hot 100, “Christmas” is the latest in the tradition of such hits reaching No. 1 on the UK list.)

More from ‘Santa’: Carey also debuts at No. 76 on the Hot 100 with her new version of “Oh Santa,” featuring Ariana Grande and Jennifer Hudson. The song, whose original 2010 solo version spent a week at No. 100 on the Hot 100 during the 2010-11 holiday season, charts in its new form with 6.3 million streams, 1.7 million in airplay audience and 10,000 sold. It starts at No. 3 on Digital Song Sales, as well as No. 1 on Holiday Digital Song Sales.

Carey’s update of “Santa,” as well as a new mix of “All I Want For Christmas Is You” (both respectively tracked separately from their original versions for chart purposes), premiered on the Apple TV exclusive Mariah Carey’s Magical Christmas, Dec. 4. The set’s soundtrack debuts at No. 28 on Top Holiday Albums and No. 99 on the Billboard 200 with 12,000 equivalent album units. Meanwhile, Carey’s Merry Christmas returns to the Billboard 200’s top 10.

24kGoldn’s “Mood,” featuring Iann Dior, drops to No. 2 on the Hot 100 after six nonconsecutive weeks at No. 1, with 84.2 million in airplay audience (down 2%), as it leads Radio Songs for a seventh week; 18.1 million streams (down 4%); and 5,000 sold (down 10%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 16th week each and Hot Rap Songs for a ninth week (with all three charts using the same methodology as the Hot 100).

Brenda Lee’s “Rockin’ Around the Christmas Tree” hops 4-3 on the Hot 100, up by 21% to 29.2 million streams, 9% to 21.1 million in radio reach and 13% to 10,000 sold. The 1958 classic hit a No. 2 Hot 100 high last holiday season.

Ariana Grande’s “Positions” drops 3-4 on the Hot 100, after it led the Nov. 7-dated chart upon its debut.

The late Bobby Helms’ “Jingle Bell Rock,” first released in 1957, trots 9-5 on the Hot 100, after reaching a No. 3 best last holiday season, while Andy Williams’ “It’s the Most Wonderful Time of the Year” re-enters the top 10 at a new peak, jumping 12-6 (besting its prior No. 7 peak reached last holiday season).”Wonderful” was first released in fall 1963 and this week grants the late Williams his highest Hot 100 rank since that spring, when his highest-charting hit, “Can’t Get Used to Losing You,” peaked at No. 2 for four weeks.

The Weeknd’s “Blinding Lights” returns to the Hot 100’s top 10 (11-7), following the Dec. 4 release of its remix with Rosalía. In the week ending Dec. 10 the song (its original version and Rosalía remix, among other remixes) gained by 22% to 15.3 million streams. The track spent four weeks at No. 1 and banks a record-extending 42nd week in the top 10, while ruling the multi-metric Hot R&B Songs chart for a record-furthering 39th week and Hot R&B/Hip-Hop Songs for a fifth frame.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 6-8 on the Hot 100, after debuting at its No. 2 peak, and Justin Bieber’s “Holy,” featuring Chance the Rapper, falls 7-9, after entering at its No. 3 high.

Rounding out the Hot 100’s top 10, Jose Feliciano’s “Feliz Navidad” bounds 16-10, hitting the top 10 for the first time, 50 years after its original 1970 release. (It previously reached No. 12 last holiday season.) It sports gains of 6% to 23 million in radio reach, 15% to 18.5 million streams and 34% to 3,000 sold.

Feliciano adds his second Hot 100 top 10, after his debut entry, his cover of The Doors’ “Light My Fire,” hit No. 3 in August 1968. (The Doors’ original ruled for three weeks in the summer of 1967.) The legendary singer, songwriter and guitarist — who is celebrating the 50th anniversary of “Feliz” this year, including with performances on NBC’s The Tonight Show Starring Jimmy Fallon and CBS Sunday Morning last week, and a livestream scheduled for Dec. 20 — has charted 11 total Hot 100 entries, as well as 16 on the Hot Latin Songs chart, including eight top 10s.

Meanwhile, a record-tying five holiday songs decorate the Hot 100’s top 10, by Carey, Lee, Helms, Williams and Feliciano. Five holiday hits first sleighed the competition in the region on the chart dated Jan. 4, 2020, with Burl Ives’ “A Holly Jolly Christmas” in place of “Feliz” that week. (On the latest Hot 100, Ives’ standard, first released in 1964, jumps 24-14.)

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

Source: billboard.com

All four of his full-length studio albums have debuted at No. 1.

Shawn Mendes scores his fourth No. 1 album on the Billboard 200 chart, as his latest studio effort, Wonder, bows atop the tally. The set earned 89,000 equivalent album units in the U.S. in the week ending Dec. 10, according to Nielsen Music/MRC Data.

Meanwhile, the top 10 is very festive, as half of the titles in the region are Christmas albums for the first time since 2013.

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 Dec. 19-dated chart (where Wonder bows at to No. 1) will be posted in full on Billboard‘s website on Dec. 15. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Wonder’s 89,000 equivalent album units earned in the tracking week ending Dec. 3, album sales comprise 54,000, SEA units comprise 34,000 (equaling 46.92 million on-demand streams of the album’s songs) and TEA units comprise 1,000.

All four of Mendes’ full-length studio albums have now debuted at No. 1. He began his chart career with his introductory project, The Shawn Mendes EP, which debuted and peaked at No. 5 on the Aug. 16, 2014-dated chart. He followed it up with his debut full-length studio set, Handwritten (No. 1 on May 2, 2015), and then his next studio effort, Illuminate (No. 1, Oct. 15, 2016). He then charted two live albums (Live at Madison Square Garden, No. 200 on Jan. 14, 2017, and MTV Unplugged, No. 71 on Nov. 25, 2017) before seeing his self-titled third studio set bow atop the list dated June 9, 2018.

Wonder was led by its title track, which peaked at No. 18 on the Billboard Hot 100 and No. 14 on the Pop Songs airplay chart. The album’s second radio single, “Monster,” a co-billed track with Justin Bieber, has so far peaked at No. 8 on the Hot 100 and No. 19 on Pop Songs (through the most recently published charts, dated Dec. 12).

Bad Bunny’s El Ultimo Tour del Mundo falls to No. 2 on the Billboard 200 with 57,000 equivalent album units earned (down 50%), following its history-making debut at No. 1 a week ago – when it became the first all-Spanish-language album to top the list.

Ariana Grande’s former No. 1 Positions rises a spot to No. 3 with just over 55,000 equivalent album units (up 4%).

Michael Bublé’s former No. 1 Christmas album climbs 6-4 with 55,000 equivalent album units (up 14%). It leads a total of five holiday albums in the top 10, the first time that’s happened in seven years. Also joining in the merriment: Carrie Underwood’s My Gift (9-5, a new peak, with 53,000 units; up 19%), Nat King Cole’s The Christmas Song (12-7 with 42,000 units; up 20%), Pentatonix’s The Best of Pentatonix Christmas (16-8 with just over 39,000; up 22%) and Mariah Carey’s Merry Christmas (15-10 with 38,000; up 17%).

The last time five holiday albums were among the top 10 occurred on the Dec. 21, 2013-dated chart. That week, the top 10 housed Kelly Clarkson’s Wrapped in Red (No. 3), The Robertsons’ Duck the Halls: A Robertson Family Christmas (No. 5), Pentatonix’s PTXmas (EP) (No. 7), Bublé’s Christmas (No. 8) and Mary J. Blige’s A Mary Christmas (No. 10).

Notably, Underwood’s My Gift previously peaked at its debut rank of No. 8 on the Oct. 10-dated chart, following its release on Sept. 25. With its 9-5 jump on the new Billboard 200, it also becomes the highest charting newly released holiday album since Pentatonix’s A Pentatonix Christmas in late 2016 and early 2017. A Pentatonix Christmas was released on Oct. 21, 2016, debuted at No. 3 on the Nov. 12, 2016-dated chart and peaked at No. 1 for two weeks (Jan. 7-14, 2017).

As for the remaining non-holiday albums in the latest top 10: Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon dips 5-6 with 47,000 equivalent album units (down 2%) and Megan Thee Stallion’s Good News descends 7-9 (39,000; down 17%).

Source: billboard.com

Plus, Brenda Lee & Bobby Helms holiday hits return to the top 10.

24kGoldn‘s “Mood,” featuring Iann Dior, rebounds from No. 2 for a sixth total week at No. 1 on the Billboard Hot 100 songs chart.

Plus, Mariah Carey‘s “All I Want for Christmas Is You” returns to the Hot 100’s top 10 for the first time since it spent three weeks at No. 1, leading the list for the first time, last holiday season. The song, first released in 1994, surges from No. 14 to No. 2.

Also returning to the Hot 100’s top 10 are fellow carols “Rockin’ Around the Christmas Tree” by Brenda Lee (21-4) and “Jingle Bell Rock” by Bobby Helms (31-9). The songs rose to Nos. 2 and 3 highs, respectively, last holiday season.ARTISTS MENTIONED

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 12) will update on Billboard.com tomorrow (Dec. 8). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 19 million U.S. streams (down 13%) and sold 5,000 downloads (down 27%) in the week ending Dec. 3, according to Nielsen Music/MRC Data. It also tallied 86.5 million radio airplay audience impressions (up 1%) in the week ending Dec. 6.

The track spends a sixth week at No. 1 on the Radio Songs chart, falls 2-7 on Streaming Songs and rises 16-15 on Digital Song Sales. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 15th week each and Hot Rap Songs for an eighth frame (with all three charts using the same methodology as the Hot 100).

Mariah Carey’s “All I Want for Christmas Is You” flies 14-2 on the Hot 100 with 26.4 million U.S. streams (up 50%), 24.5 million airplay audience impressions (up 17%) and 7,000 sold (up 52%) in the tracking week. It bounds 7-1 on Streaming Songs for a sixth total week on top (and is the only holiday song to have led, dating to the survey’s January 2013 inception); 32-9 on Digital Song Sales; and 34-27 on Radio Songs. It also crowns the multi-metric Holiday 100 chart for a 42nd week, of the chart’s 47 total weeks since the list launched in 2011; it has topped the tally for 27 consecutive weeks, dating to the start of the 2015-16 holiday season.

In December 2017, “Christmas” hit the Hot 100’s top 10 for the first time, while last year it ascended to the summit, 25 years after its original release, becoming the second holiday hit ever to reign. (“The Chipmunk Song,” by The Chipmunks with David Seville, spent four weeks at No. beginning in December 1958.) Carey claimed her 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 for three weeks on the Hot 100 charts dated Dec. 21, 2019, through Jan. 4, 2020, Carey also became the first artist to have ranked at No. 1 on the chart in four distinct decades.

Ariana Grande’s “Positions” rebounds 4-3 on the Hot 100, after it led the Nov. 7-dated chart upon its debut.

Brenda Lee’s 1958 classic “Rockin’ Around the Christmas Tree” soars 21-4 on the Hot 100, up by 62% to 24.2 million streams, 9% to 19.5 million in radio reach and 23% to 9,000 sold. It jumps 13-3 on Streaming Songs, 19-5 on Digital Song Sales and 42-36 on Radio Songs.

Bad Bunny and Jhay Cortez charge to the Hot 100’s top five as “Dakiti” leaps 15-5, reaching a new best after the song debuted at its prior No. 8 high on the Nov. 21 chart. As Bad Bunny’s album El Ultimo Tour del Mundo, released Nov. 27 and which includes “Dakiti,” opens at No. 1 on the Billboard 200 chart with 116,000 equivalent album units, the collaboration returns to its No. 2 high, from No. 3, on Streaming Songs (24.1 million, up 14%).

“Dakiti” becomes Bad Bunny’s third top five Hot 100 hit, following his Cardi B and J Balvin team-up “I Like It,” which spent a week at No. 1, and “MIA,” featuring Drake (No. 5 debut and peak), both in 2018. “Dakiti,” Cortez’s first top five Hot 100 entry, concurrently tops the multi-metric Hot Latin Songs chart for a fifth week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, pushes 7-6 on the Hot 100, after debuting at its No. 2 peak, and notches a sixth week atop the multi-metric Hot R&B/Hip-Hop Songs chart (where it marks Drake’s record-setting 21st No. 1).

Justin Bieber’s “Holy,” featuring Chance the Rapper, backtracks 6-7 on the Hot 100, after debuting at its No. 3 high, and Gabby Barrett’s “I Hope,” featuring Charlie Puth, drops 5-8, after reaching No. 3, as it dominates the multi-metric Hot Country Songs chart for a 19th week.

Bobby Helms’ “Jingle Bell Rock,” first released in 1957, gallops 31-9 on the Hot 100, up by 58% to 18.9 million streams, 7% to 19.3 million in radio audience and 41% to 5,000 sold. It vaults 18-5 on Streaming Songs, 36-13 on Digital Song Sales and 41-37 on Radio Songs.

Rounding out the Hot 100’s top 10, BTS’ “Dynamite” descends 3-10, after the South Korean group’s first all-English language single premiered as its first Hot 100 No. 1. This week, it becomes BTS’ first Radio Songs top 10 (11-10; 44.5 million, down 4%). The single is also the first Radio Songs top 10 by an all-South Korean act; previously, PSY hit a No. 12 high with “Gangnam Style” in 2012.

(Outside the Hot 100’s top tier, BTS’ “Life Goes On” tumbles from No. 1, where it launched a week earlier, becoming BTS’ third No. 1 and the chart’s first leader sung predominantly in Korean, to No. 28. The song makes the second-greatest fall from the top spot, behind only the 1-33 plummet for 6ix9ine and Nicki Minaj’s “Trollz” on the July 4-dated chart.)

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 8).

Source: billboard.com

It’s Bad Bunny’s first leader. Plus: Miley Cyrus’ “Plastic Hearts” bows at No. 2, while Michael Bublé’s “Christmas” returns to the top 10.

Bad Bunny earns his first No. 1 on the Billboard 200 albums chart and makes history in the process. His new studio effort El Ultimo Tour del Mundo debuts atop the list, marking the first all-Spanish-language album to reach No. 1 in the 64-year history of the all-genre chart.

The album starts with 116,000 equivalent album units earned in the U.S. in the week ending Dec. 3, according to Nielsen Music/MRC Data.

The previous highest-charting all-Spanish-language album came earlier this year, when Bad Bunny’s own YHLQMDLG debuted and peaked at No. 2 on the chart dated March 14 (179,000 units earned in its first week).ARTISTS MENTIONED

Also in the new top 10, Miley Cyrus’ Plastic Hearts debuts at No. 2, while Michael Bublé’s former No. 1 Christmas returns to the region.

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 Dec. 12-dated chart (where El Ultimo Tour del Mundo debuts at to No. 1) will be posted in full on Billboard‘s website on Dec. 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of El Ultimo Tour del Mundo’s 116,000 equivalent album units earned in the tracking week ending Dec. 3, SEA units comprise 103,000 (equating to 145.94 million on-demand streams of the album’s songs), album sales comprise 12,000 and TEA units comprise 1,000.

Only four all-Spanish-language albums have ever reached the top five on the Billboard 200: Bad Bunny’s El Ultimo Tour del Mundo (No. 1), YHLQMDLG (No. 2), Mana’s Amar es Combatir (No. 4; Sept. 9, 2006) and Shakira’s Fijación Oral: Vol. 1 (No. 4; June 25, 2005).

Before El Ultimo Tour del Mundo became the first all-Spanish-language album to reach No. 1 on the Billboard 200, there were only two mostly Spanish-sung albums reign: Il Divo’s Ancora (Feb. 11, 2006) and Selena’s Dreaming of You (Aug. 5, 1995). Of Ancora’s 10 songs, seven were performed in Spanish. Dreaming of You’s 13-track album includes six tracks in Spanish, five in English and two duets that blend English and Spanish.

All told, Bad Bunny has now achieved five charting albums on the Billboard 200, with his last four all reaching the top 10. His first charting set, X 100PRE, peaked at No. 11 on the Jan. 12, 2019-dated chart, and he followed it with Oasis (with J Balvin, No. 9; July 13, 2019), YHLQMDLG (No. 2; March 14, 2020), Las Que No Iban a Salir (No. 7; May 23, 2020) and now El Ultimo Tour del Mundo.

Further, Bad Bunny is only the second act to have logged three new top 10 albums in 2020, following YoungBoy Never Broke Again, who has claimed four top 10s this year.

El Ultimo Tour del Mundo was led by the track “Dákiti,” a co-billed song with Jhay Cortez. It marked Bad Bunny’s third top 10 on the all-genre Billboard Hot 100 songs chart and his seventh No. 1 on the Hot Latin Songs chart. The song also reached No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.

Back on the new Billboard 200, Miley Cyrus’ Plastic Hearts debuts at No. 2 – her highest charting effort since 2013’s Bangerz bowed at No. 1. All told, Plastic Hearts is her 13th top 10 effort (including those albums credited under her Hannah Montana alias).

Plastic Hearts launches with 60,000 equivalent album units earned. Of that sum, 38,000 comprise SEA units (translating to 50.90 million on-demand streams of the album’s songs), 20,000 comprise album sales and 2,000 comprise TEA units.

Plastic Hearts was preceded by the songs “Midnight Sky” and “Prisoner,” the latter featuring Dua Lipa. “Midnight Sky” reached No. 14 on the Hot 100 dated Aug. 29 and No. 20 on the Streaming Songs chart. “Prisoner” debuted on the most-recently published Hot 100 and Streaming Songs charts (dated Dec. 5) at Nos. 54 and 31, respectively. Aside from the collaboration with Dua Lipa, the album also features Billy Idol and Joan Jett. The digital edition of the album includes a guest spot by Stevie Nicks, who sings new vocals on “Edge of Midnight” — a remix/mash-up of “Midnight Sky” and Nicks’ own “Edge of Seventeen.”

BTS’ Be falls from No. 1 to No. 3 on the new Billboard 200 in its second week (55,000 equivalent album units earned; down 77%), Ariana Grande’s former No. 1 Positions dips 3-4 (53,000; down 14%) and Pop Smoke’s previous leader Shoot for the Stars Aim for the Moon drops 4-5 (a little over 48,000; down 7%).

Michael Bublé’s Christmas, which reached No. 1 in late 2011 and early 2012, returns to the top 10, as it climbs 13-6 with 48,000 equivalent album units earned (up 52%). Of that sum, 38,000 comprise SEA units (up 61%; equaling 50.46 million on-demand streams of the set’s songs), 9,000 comprise album sales (up 27%) and 1,000 comprise TEA units (up 25%).

Since Christmas’ five-week reign at No. 1 in 2011-12, the album has returned to the top 10 in every Christmas season since.

Closing out the new top 10: Megan Thee Stallion’s Good News falls 2-7 in its second week on the Billboard 200 (47,000 equivalent album units earned; down 53%), Taylor Swift’s former No. 1 Folklore descends 6-8 (45,000; though up 4%), Carrie Underwood’s My Gift rises 10-9 (44,000; up 26%) and Juice WRLD’s previous No. 1 Legends Never Die dips 9-10 (36,000; down less than 1%).

Source: billboard.com

Plus, Shawn Mendes & Justin Bieber’s “Monster” debuts at No. 8.

BTS‘ “Life Goes On” soars onto the Billboard Hot 100 songs chart at No. 1.

The song is the South Korean septet’s third Hot 100 No. 1, all in a span of three months, following “Dynamite” and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat),” the latter of which led aided by BTS remixes.

“Life Goes On” is also the first Hot 100 No. 1 in the chart’s 62-year history sung predominantly in Korean.

Plus, Shawn Mendes and Justin Bieber‘s “Monster” bounds onto the Hot 100 at No. 8.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 5) will update on Billboard.com tomorrow (Dec. 1). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Life Goes On,” released Nov. 20 on BigHit Entertainment/Columbia Records as part of BTS’ new album Be, which opens at No. 1 on the Billboard 200 chart. The song is the 1,114th No. 1 in the Hot 100’s history.

Streams, sales & airplay: “Life Goes On” drew 14.9 million U.S. streams and sold 150,000 in the week ending Nov. 26, according to Nielsen Music/MRC Data. It also earned 410,000 radio airplay audience impressions in the week ending Nov. 29 (with KJYO Oklahoma City, Oklahoma, the lone reporter to play it double-digit times: 13).

The track debuts at No. 1 on the Digital Song Sales chart and No. 14 on Streaming Songs.

(Breaking down the song’s first-week sales, it sold over 129,000 digital downloads and 20,000 physical singles. The digital download was sale-priced to 69 cents, while a cassette single sold for $6.98 and a vinyl single went for $7.98.)

BTS’ 3rd Hot 100 No. 1 in 3 months: “Life Goes On” is BTS’ third Hot 100 No. 1, all in a span of three months. Its launch atop the Dec. 5-dated chart follows “Dynamite,” which began atop the Sept. 5 survey and led for three total weeks, and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat),” which, helped by BTS remixes, topped the Oct. 17 chart.

Covering a span of exactly three months (Sept. 5-Dec. 5-dated charts), BTS scores the fastest accumulation of three Hot 100 No. 1s in over 42 years, since the Bee Gees tripled up over two months and three weeks, with a trio of singles from the Saturday Night Fever soundtrack: “How Deep Is Your Love” (three weeks at No. 1, beginning Dec. 24, 1977); “Stayin’ Alive” (four, Feb. 4, 1978); and “Night Fever” (eight, March 18, 1978).

BTS has landed its first three No. 1s more quickly than any act since The Beatles, whose first three leaders, “I Want to Hold Your Hand,” “She Loves You” and “Can’t Buy Me Love,” hit No. 1 over a span of just two months and three days (Feb. 1-April 4, 1964).

BTS is the second act with three Hot 100 No. 1s in 2020, following Ariana Grande, who has led with “Stuck With U” (with Bieber; May 23); “Rain on Me” (with Lady Gaga; June 6); and “Positions” (Nov. 7). BTS is the first act of more than two members with three songs to spend their first weeks each at No. 1 in the same year since, again, trio the Bee Gees, who sent three hits to No. 1 in 1979: “Too Much Heaven,” “Tragedy” and “Love You Inside Out.”

First duo/group with 2 No. 1 Hot 100 debuts: BTS is the first duo or group with two No. 1 Hot 100 debuts, as “Life Goes On” follows “Dynamite” in having premiered at the summit.

“Life Goes On” is the 46th single overall to start at No. 1 on the Hot 100. It’s the 11th to do so in 2020 (all since April), nearly triple the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

First predominantly non-English-language No. 1 debut: “Life Goes On” is the first song sung in a non-English language to open atop the Hot 100.

The first Hot 100 No. 1 in the Hot 100’s history sung predominantly in Korean, it’s the first No. 1 sung mostly in a language other than English since Luis Fonsi and Daddy Yankee’s predominantly Spanish-language “Despacito” (featuring Bieber), which reigned for 16 weeks in 2017. Before “Despacito,” no such song had topped the Hot 100 since Los Del Rio’s “Macarena (Bayside Boys Mix),” which ruled for 14 weeks in 1996. Before that, Los Lobos’ all-Spanish-language cover of Ritchie Valens’ “La Bamba” led in 1987.

19th No. 1 of 2020: “Life Goes On” is the 19th song to ascend to No. 1 on the Hot 100 for the first time in 2020. This year marks the highest total of songs earning their first weeks on top since 19 also did in 2006 (and the most by the first chart week of December since Nielsen Music/MRC Data-based information began fueling the chart in November 1991).

“Dynamite” back in top 5: “Dynamite,” on BTS’ album Be, rebounds from No. 14 to No. 3 on the Hot 100. Among acts of more than two members, BTS is the first to claim two spots in the Hot 100’s top three, or top five, simultaneously since The Black Eyed Peas, which doubled for five weeks in June-July 2009 with “Boom Boom Pow” and “I Gotta Feeling.”

24kGoldn’s “Mood,” featuring Iann Dior, drops to No. 2 on the Hot 100 after five nonconsecutive weeks at No. 1, with 87.3 million in airplay reach (up 2%), as it leads the Radio Songs chart for a fifth week, 21.9 million streams (down 2%) and 7,000 sold (down 13%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 14th week each and Hot Rap Songs for a seventh frame (with all three charts using the same methodology as the Hot 100).

Ariana Grande’s “Positions” slips 3-4 on the Hot 100, after it led the Nov. 7-dated chart upon its debut. It charges 14-9 on Radio Songs (47.9 million, up 27%), where it becomes her 14th top 10; dating to her first week in the tier (June 7, 2014), with “Problem,” featuring Iggy Azalea, she ties Bieber for the most top 10s in that span.

Gabby Barrett’s “I Hope,” featuring Charlie Puth, dips 4-5 on the Hot 100, after reaching No. 3, as it dominates the multi-metric Hot Country Songs chart for an 18th week, and Bieber’s “Holy,” featuring Chance the Rapper, keeps at No. 6 on the Hot 100, after debuting at its No. 3 high.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 5-7 on the Hot 100, after debuting at its No. 2 peak, and notches a fifth week atop the multi-metric Hot R&B/Hip-Hop Songs chart (where it marks Drake’s record-setting 21st No. 1).

Shawn Mendes and Justin Bieber’s “Monster” enters the Hot 100 at No. 8, with 19.1 million streams, 14.4 million in airplay audience and 17,000 sold. It starts at No. 5 on Streaming Songs and No. 7 on Digital Song Sales. (The song sold 15,000 downloads and 2,000 CD singles, with three CD versions available for $3 each: one with a cover showing both Mendes and Bieber and one each showing only Mendes and Bieber, respectively.)

Mendes earns his sixth Hot 100 top 10 and Bieber adds his 21st.

The Weeknd’s “Blinding Lights” retreats 7-9 on the Hot 100, after spending four weeks at No. 1. It banks a record-extending 41st week in the top 10, while ruling the multi-metric Hot R&B Songs chart for a record-furthering 37th week.

Rounding out the Hot 100’s top 10, Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, slips 8-10, after rising to No. 6.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 5), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 1).

Source: billboard.com

Plus: Megan Thee Stallion’s ‘Good News’ debuts at No. 2.

BTS lands its fifth No. 1 album on the Billboard 200 chart, as Be bows atop the tally. The set, which was released via Big Hit Entertainment on Nov. 20, arrives with 242,000 equivalent album units earned in the U.S. in the week ending Nov. 26, according to Nielsen Music/MRC Data. Be is the second chart-topper of 2020 for the pop group, following Map of the Soul: 7, which debuted at No. 1 on the chart dated March 7.

Also in the new top 10, Megan Thee Stallion’s Good News bows at No. 2, Taylor Swift’s former No. 1 Folklore flies 29-6 after its vinyl edition was released to Target stores and her Disney+ special premiered, and Carrie Underwood’s holiday set My Gift returns to the top 10 with a 25-10 jump.

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 Dec. 5-dated chart (where Be debuts at to No. 1) will be posted in full on Billboard‘s website on Dec. 1. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Be’s 242,000 units earned in the tracking week ending Nov. 26, album sales comprise 177,000, TEA units comprise 35,000 and SEA units comprise 30,000 (equating to 48.56 million on-demand streams of the album’s songs).

The Be album is a mostly-Korean-language release, but does feature the group’s first all-English song, “Dynamite.” The track marked the act’s first No. 1 on the Billboard Hot 100 chart dated Sept. 5. It also recently garnered the group its first Grammy Award nomination, for best pop duo/group performance. Be is the 11th mostly non-English album to hit No. 1. Of the 11 leaders that were recorded mostly in a language other than English, five have been by BTS.

The album’s first week is the largest for an album by a group, both in terms of equivalent album units and album sales, since BTS’ own last No. 1 album, Map of the Soul: 7, earned 422,000 units in its first week, of which 347,000 were in album sales (chart dated March 7).

However, unlike many other high-selling albums that benefit from an array of available formats and exclusive or limited editions, Be was only available in two formats. It was issued as a standard digital album that cost about $9 and a pricey CD edition that retailed for around $50. (Big Hit has termed the CD edition a “deluxe” package, though there is no traditional standard CD available.)

Even BTS’ last No. 1, Map of the Soul: 7, was issued in five editions – a standard digital album and four collectible CD packages (each selling for around $25).

Be’s rollout is reminiscent of the arrival of Tool’s Fear Inoculum, which debuted at No. 1 on the Billboard 200 dated Sept. 14, 2019, with 270,000 equivalent album units – of which 240,000 were in album sales. The album was initially only sold in two formats: a digital download and a limited-edition CD that cost around $45-50, and came with a 4-inch HD screen, video footage, a speaker and a 36-page booklet.

While the $50 BTS Be deluxe CD doesn’t have any technology housed in its package, it does contain paper goods such as a photobook, photocards, postcards and a poster.

BTS is the first group to land two No. 1 albums in 2020, and the second act overall, following rapper YoungBoy Never Broke Again (with 38 Baby 2 and Top).

In total, BTS has now led the Billboard 200 five times. Before Be and Map of the Soul: 7, there was Map of the Soul: Persona (April 27, 2019), Love Yourself: Answer (Sept. 8, 2018) and Love Yourself: Tear (June 2, 2018).

In turn, BTS has achieved its five No. 1 albums in just a little over two years and six months. The last act to accumulate five No. 1s quicker was Future, who logged his first five leaders in just over one year and seven months (from DS2 on Aug. 8, 2015, through HNDRXX on March 18, 2017). The last group to tally five No. 1s faster than BTS was The Beatles, who strung together five No. 1s in just under two years and five months with Yesterday and Today (July 30, 1966) and its self-titled album (often referred to as the White Album, Dec. 28, 1968). And finally, the last group to achieve its first five No. 1s faster than BTS was, again, The Beatles. The Fab Four clocked its first five No. 1s in just under one year and five months, between Meet the Beatles! (Feb. 15, 1964) and Beatles VI (July 10, 1965).

At No. 2 on the new Billboard 200, Megan Thee Stallion’s debut full-length album Good News starts with 100,500 equivalent album units earned. Of that sum, 82,500 comprise SEA units (equaling 115.85 million on-demand streams of the set’s songs), 16,000 comprise album sales and a little over 2,000 comprise TEA units. Good News is also the most streamed album of the week.

The 17-track Good News set follows a pair of top 10s from Megan Thee Stallion with the nine-track EP Suga (No. 7; May 16, 2020) and the mixtape Fever (No. 10; June 1, 2019).

The new album includes the remix version of the No. 1 Hot 100 hit “Savage,” featuring Beyoncé. The original version of “Savage” was included on Suga.

Ariana Grande’s former No. 1 Positions rises 4-3 on the new Billboard 200 with 61,000 equivalent album units earned (down 18%), Pop Smoke’s former leader Shoot for the Stars Aim for the Moon bumps up a notch to No. 4 with 52,000 units (down 3%) and Future and Lil Uzi Vert’s Pluto x Baby Pluto falls 2-5 in its second week with 46,000 units (down 56%).

Taylor Swift’s former No. 1 Folklore charges back into the top 10, rising 29-6, after the set’s vinyl edition was released to Target stores during the tracking week, her Disney+ special Folklore: The Long Pond Studio Sessions premiered on Nov. 25 and a new digital deluxe edition of the album was released.

Folklore earned 44,000 equivalent album units in the week ending Nov. 26 (up 120%), with 23,000 of that sum in album sales (up 452%). Vinyl LP sales comprise 15,000 of that sales figure (up 16,476%). Folklore’s digital album sales also increased, rising to 4,000 for the week (up 425%). A new deluxe edition of the album was issued to digital retailers on Nov. 25 that includes live versions of each of the album’s tracks (as heard in the Disney+ special Folklore: The Long Pond Studio Sessions).

Luke Combs’ former No. 1 What You See Is What You Get falls 6-7 with 41,000 equivalent album units (down 2%), Chris Stapleton’s Starting Over descends 3-8 with 37,000 units (down 64%) and Juice WRLD’s Legends Never Die dips 7-9 with 36,000 units (down 2%).

Carrie Underwood’s holiday album My Gift jumps back into the top 10, rising 25-10 with 35,000 equivalent album units earned (up 63%). The album debuted at No. 8 on the Oct. 10-dated chart, and then spent the next four weeks outside the top 50. However, it vaulted 150-39 on the Nov. 14 chart, and then rose 29-25-10 in the next three weeks, as Thanksgiving (and the heart of the Christmas season) approached.

With Starting Over, What You See Is What You Get and My Gift all in the top 10 together, it’s the first time in nearly three years that three albums which also appear on the Top Country Albums chart have all been in the top 10 of the Billboard 200 concurrently. It last happened on the Jan. 3, 2018-dated chart, when Luke Bryan’s What Makes You Country, Garth Brooks’ The Anthology: Part I, The First Five Years and Stapleton’s From A Room: Volume 2 were Nos. 8-10, respectively.

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Most Weeks in Billboard Hot 100’s Top 10
40, “Blinding Lights,” The Weeknd, 2020
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

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

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

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

Source: billboard.com

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

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

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

Also in the top 10, Future and Lil Uzi Vert’s first collaborative album, Pluto x Baby Pluto, debuts at No. 2, Chris Stapleton’s Starting Over enters at No. 3, Queen‘s Greatest Hits reaches the top 10 for the first time and the prolific YoungBoy Never Broke Again clocks his fourth top 10 of 2020 with the arrival of Until I Return at No. 10.ARTISTS MENTIONED

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 28-dated chart (where Power Up debuts at No. 1) will be posted in full on Billboard‘s website on Nov. 24. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

Most Weeks in Billboard Hot 100’s Top 10
39, “Blinding Lights,” The Weeknd, 2020
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

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

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

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

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

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

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

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

Source: billboard.com