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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 21-dated chart (where Positions holds at to No. 1) will be posted in full on Billboard‘s website on Nov. 17. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 14-dated chart (where Positions bows at to No. 1) will be posted in full on Billboard‘s website on Nov. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

Both songs make history upon their entrances.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Digging (combing?) deeper:

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 7-dated chart (where What You See Is What You Get returns to No. 1) will be posted in full on Billboard‘s website on Nov. 3. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 31-dated chart (where Folklore returns to No. 1) will be posted in full on Billboard‘s website on Oct. 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

Plus, Internet Money & Gunna’s “Lemonade” reaches the top 10.

24kGoldn‘s “Mood,” featuring iann dior, rises to No. 1, from No. 4, on the Billboard Hot 100 songs chart. The song is the first leader on the list for each artist.

Plus, Internet Money and Gunna‘s “Lemonade,” featuring Don Toliver and NAV, hits the Hot 100’s top 10, pushing 12-10.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Oct. 24) will update on Billboard.com tomorrow (Oct. 20). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Mood,” released on RECORDS/Columbia Records (and the 1,112th No. 1 in the Hot 100’s 62-year history).

Streams, sales & airplay: “Mood” drew 20.3 million U.S. streams (down 2%) and sold 7,000 downloads (down 2%) in the week ending Oct. 15, according to Nielsen Music/MRC Data. It also tallied 62.9 million radio airplay audience impressions (up 16%) in the week ending Oct. 18.

The track rises 6-4 on the Streaming Songs chart, 8-6 on Digital Song Sales and 7-6 on Radio Songs. On the Hot 100, it wins the top Airplay Gainer award for the sixth time in the past seven weeks, marking the first song to hoist the trophy six times in a span of seven weeks since Daddy Yankee and Luis Fonsi’s “Despacito,” featuring Justin Bieber, in May-July 2017.

Each act’s first No. 1: 24kGoldn (real name: Golden Landis Von Jones), earns his first Hot 100 No. 1 with his second entry, after “Valentino” spent a week at No. 92 last November. (“Mood” is as of now a stand-alone single; “Valentino” is from 24kGoldn’s November 2019 release Dropped Outta College.)

Dior (real name: Michael Ian Olmo) reigns in his first visit to the chart.

Leading labels: The RECORDS imprint, formed in 2015, lands its first Hot 100 No. 1 with “Mood.”

Meanwhile, Columbia collects its fourth Hot 100 No. 1 of 2020, tying Republic Records for the most leaders that a label has sent to the summit for the first time this year.

17th No. 1 of 2020: “Mood” is the 17th 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 17 also did in 2010 (and the most by the fourth chart week of October since Nielsen Music/MRC Data-based information began fueling the chart in November 1991).

Good ‘mood’: 24kGldn and dior boast the second Hot 100 No. 1 with the word “mood” in its title, and the first in over 59 years, since Pat Boone’s “Moody River” wound its way to the top of the June 19, 1961-dated chart.

The only other such top 10: “In the Mood,” by Ernie Fields, hit No. 4 in December 1959.

First rock & rap ruler: “Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for an eighth week each and ascends to its first week at No. 1 on Hot Rap Songs, all of which employ the same methodology as the Hot 100.

The song is the first to crown all three charts, or even both Hot Rock & Alternative Songs (formerly Hot Rock Songs), which began in 2009, and Hot Rap Songs, which dates to 1989. (Hot Alternative Songs originated this June.)

Cardi B’s “WAP,” featuring Megan Thee Stallion, rises 3-2 on the Hot 100, after four nonconsecutive weeks at No. 1, as it leads Streaming Songs for a ninth week (25.9 million, down 8%). It concurrently rules the multi-metric Hot R&B/Hip-Hop Songs chart for a ninth week.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, lifts 4-3 on the Hot 100, after debuting at its No. 2 peak.

The Weeknd’s “Blinding Lights” climbs 6-4 on the Hot 100, after spending four weeks at No. 1. It returns to the top five for a record-extending 29th week in the region, while logging a 35th week in the top 10, the second-most weeks ever in the tier, after Post Malone’s “Circles” (39 weeks, 2019-20). “Lights” leads the multi-metric Hot R&B Songs chart for a record-padding 31st week and Radio Songs (76.8 million, down 2%) for a record-furthering 26th frame.

BTS’ “Dynamite” drops 2-5 on the Hot 100, after three nonconsecutive weeks at No. 1, as it posts an eighth week atop Digital Song Sales (44,000, down 53%).

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” falls to No. 6 on the Hot 100, a week after it vaulted from No. 8 to No. 1 aided by two new BTS remixes. (With activity for the BTS versions not outperforming those by Jawsh 685/Derulo in the latest tracking week, unlike last week, BTS is now not listed as a credited act on the song on the chart, after the group received billing on the song for the first time last week; for historical purposes, all three artists retain credit for the song’s week at No. 1 on the Hot 100.)

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, repeats at No. 7; Gabby Barrett’s “I Hope,” featuring Charlie Puth, holds at its No. 8 high, as it rules the multi-metric Hot Country Songs chart for a 13th week;  and Harry Styles’ “Watermelon Sugar” rebounds 11-9 on the Hot 100, after achieving a week at No. 1.

Internet Money and Gunna’s “Lemonade,” featuring Don Toliver and NAV, hits the Hot 100’s top 10, rising 12-10. The track, from Internet Money’s LP B4 the Storm, which debuted at its No. 10 high on the Billboard 200 in September, climbs 4-2 on Streaming Songs (21.7 million, down 7%).

Gunna claims his second Hot 100 top 10, after “Drip Too Hard,” with Lil Baby, hit No. 4 in October 2018. Production collective Internet Money, Toliver and NAV each earn their first Hot 100 top 10.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 24), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 20).

Source: billboard.com

Plus: Fleetwood Mac’s ‘Rumours’ is back in the top 10 for the first time in 42 years.

After a three-month wait, Pop Smoke’s Shoot for the Stars, Aim for the Moon returns to No. 1 on the Billboard 200 for a second week. The set rises 3-1 and earned 67,000 equivalent album units in the U.S. in the week ending Oct. 15 (down 1 percent), according to Nielsen Music/MRC Data.

Shoot for the Stars, Aim for the Moon debuted at No. 1 on the chart dated July 18, and then spent the next 13 weeks lodged in the top four positions of the list, until its return to No. 1 this week. (Further, during that 13-week span, nine of those weeks were at No. 2.)

It’s the second album in 2020 to have such a lengthy wait between weeks at No. 1, following Lil Baby’s My Turn. That album, like Shoot for the Stars, Aim for the Moon, debuted at No. 1 (on the March 14 chart) and then spent 13 weeks hovering near the top of the list (between Nos. 2-6) before returning to No. 1 (on the June 20 chart).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 24-dated chart (where Shoot for the Stars, Aim for the Moon returns to No. 1) will be posted in full on Billboard‘s website on Oct. 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

For the first time in over two months, there are no debuts in the top 10. The chart last had zero debuts in the top 10 on the Aug. 15-dated chart. Additionally, this week’s absence of top 10 debuts comes after two debut-filled weeks: on the Oct. 17 chart (five debuts) and the Oct. 10 chart (six debuts).

Back on the new Billboard 200, 21 Savage and Metro Boomin’s Savage Mode II falls 1-2 in its second week on the list, with 66,000 equivalent album units earned (down 61 percent). Three former No. 1s are next in line on the tally, as Juice WRLD’s Legends Never Die climbs 8-3 (45,000 units; down 1 percent), Lil Baby’s My Turn rises 10-4 (38,000 units; up 9 percent and Machine Gun Kelly’s Tickets to My Downfall shifts 6-5 (35,000 units; down 35 percent).

BLACKPINK’s The Album descends 2-6 in its second week, with 35,000 equivalent album units earned (down 68 percent).

After a 42-year wait, Fleetwood Mac’s former No. 1 album Rumours returns to the top 10, as the set jumps 13-7. The set is basking in the glow of sales and streaming increases spurred on by publicity generated from a viral TikTok video set to the album’s song “Dreams.”

Rumours earned 33,000 equivalent album units in the week ending Oct. 15 – up 15 percent. Of that sum, 23,000 comprise SEA units (up 15 percent, equating to 30.6 million on-demand streams of the album’s songs), a little under 7,000 are in album sales (up 15 percent) and 4,000 are in TEA units (up 13 percent).

The TikTok video in question has “Dreams” soundtracking a man in a hoodie (Nathan Apodaca) seemingly being pulled on a skateboard, as he drinks from a bottle of Ocean Spray Cran-Raspberry juice and sings along with Stevie Nicks’ lead vocal. The video became so popular, it moved the band’s own Mick Fleetwood and Stevie Nicks to create their own tribute clips.

Rumours spent 31 nonconsecutive weeks at No. 1 on the Billboard 200 in 1977-78 — a record number of weeks atop the list for an album by a duo or group. Rumours was last in the top 10 on the Feb. 18, 1978-dated chart (at No. 10), and last ranked at No. 7 or higher on the Feb. 11, 1978 chart (where it placed at No. 7).

The original Broadway cast recording of Hamilton: An American Musical climbs 11-8 on the new Billboard 200 (just under 33,000 equivalent album units earned; down 4 percent), while YoungBoy Never Broke Again’s former No. 1 Top is a non-mover at No. 9 (32,000 units; down 11 percent) and Taylor Swift’s fellow former leader Folklore rises 12-10 (28,000 units; down 13 percent).

Source: billboard.com

Plus, 21 Savage & Metro Boomin debut two songs in the top 10.

Jawsh 685, Jason Derulo and BTS‘ “Savage Love (Laxed – Siren Beat)” blasts to No. 1 on the Billboard Hot 100 songs chart, from No. 8, aided by new BTS remixes released at the start of the survey’s tracking week.

The song becomes the second Hot 100 No. 1 each for Derulo and BTS and the first for Jawsh 685.

Plus, 21 Savage and Metro Boomin debut two collaborations in the Hot 100’s top 10 from their new album Savage Mode II, which launches at No. 1 on the Billboard 200. “Runnin” arrives at No. 9 on the Hot 100 and “Mr. Right Now” opens at No. 10. The latter song also marks featured artist Drake‘s record-extending 42nd Hot 100 top 10.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Oct. 17) will update on Billboard.com tomorrow (Oct. 13). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at the coronation of “Savage Love,” released on Columbia Records.

Streams, sales & airplay: “Savage Love” drew 16 million U.S. streams (up 32%) and sold 76,000 downloads (up 814%) in the week ending Oct. 8, according to Nielsen Music/MRC Data. It also tallied 70.6 million radio airplay audience impressions (down 2%) in the week ending Oct. 11.

The track jumps 5-2 on the Digital Song Sales chart, descends 4-5 on Radio Songs and rises 20-14 on Streaming Songs, while claiming top Sales and Streaming Gainer honors on the Hot 100.

Two BTS remixes (a vocal and an instrumental version) of “Savage Love” were released at midnight ET Oct. 2. With almost all of the song’s overall airplay favoring the Jawsh 685/Derulo version, the bulk of its overall sales owed to the BTS remixes and the song’s overall streams split more evenly among the versions with and without BTS in the tracking week, its overall activity in that span favored the Jawsh 685/Derulo/BTS versions, so BTS is now officially listed on the Hot 100 as a billed act on the song for the first time.

BTS & Derulo’s second No. 1, Jawsh 685’s first: BTS achieves its second Hot 100 No. 1 with “Savage Love.” The septet scored its first leader with “Dynamite,” which debuted atop the Sept. 5 chart.

Derulo earns his second Hot 100 No. 1, after first leading with his debut entry “Whatcha Say” on the chart dated Nov. 14, 2009. He ends the longest wait between No. 1s (11 years and 11 months) since Dr. Dre went 12 years, two months and three weeks between his featured role on Blackstreet’s “No Diggity” in 1996 and “Crack a Bottle,” with Eminem and 50 Cent, in 2009.

Jawsh 685 crowns the Hot 100 in his first visit to the chart.

Biggest jump to No. 1 this year: Surging 8-1, “Savage Love” makes the greatest leap to the top of the Hot 100 since The Weeknd’s “Heartless” vaulted 32-1 on the chart dated Dec. 14, 2019, following its first full week of tracking, as well as the arrival of its official video.

16th No. 1 of 2020: “Savage Love” is the 16th song to ascend to No. 1 on the Hot 100 for the first time in 2020, one-upping the total of all of 2019. This year marks the highest total of songs earning their first weeks on top since 17 did in 2010 (and the most by the third chart week of October since Nielsen Music/MRC Data-based information began powering the chart in November 1991).

1 more thing …: “Savage Love” is the 1,111th No. 1 in the Hot 100’s 62-year archives.

The song gains induction to this chart-fan favorite club:

1st Hot 100 No. 1: “Poor Little Fool,” Ricky Nelson, Aug. 4, 1958
11th Hot 100 No. 1: “Venus,” Frankie Avalon, March 9, 1959
111th Hot 100 No. 1: “A World Without Love,” Peter and Gordon, June 27, 1964
1,111th Hot 100 No. 1: “Savage Love (Laxed – Siren Beat),” Jawsh 685 x Jason Derulo x BTS, Oct. 17, 2020

Meanwhile, BTS’ “Dynamite” holds at No. 2 on the Hot 100 after three nonconsecutive weeks at No. 1. It adds a seventh week atop Digital Song Sales (94,000, up 9%); falls 13-21 on Streaming Songs (13.4 million, down 2%); and charges 39-26 on Radio Songs (27.3 million, up 18%).

With “Savage Love” at No. 1 and “Dynamite” at No. 2 on the Hot 100, BTS is the first group to double up in the top two simultaneously since The Black Eyed Peas did so for four weeks in June-July 2009 with “Boom Boom Pow” and “I Gotta Feeling.” Only three other duos or groups have won both gold and silver medals in the same weekly competition: OutKast (eight weeks, 2003-04); Bee Gees (five, 1978); and The Beatles (10, 1964).

Cardi B’s “WAP,” featuring Megan Thee Stallion, keeps at No. 3 on the Hot 100 after four nonconsecutive weeks at No. 1, as it leads Streaming Songs for an eighth week (28.3 million, down 11%). It concurrently rules both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for an eighth week each.

24kGoldn’s “Mood,” featuring iann dior, hits a new Hot 100 high, rising 5-4 with the chart’s top Airplay Gainer award, as it enters the Radio Songs top 10 (11-7; 55.1 million, up 18%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a seventh week each.

Rounding out the Hot 100’s top five, Drake’s “Laugh Now Cry Later,” featuring Lil Durk, dips 4-5, after debuting at its No. 2 peak.

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” is steady at No. 6, after spending a record 28 weeks in the top five. It logs a 34th week in the top 10, claiming a solo share of the second-most time tallied in the region:

Most Weeks in Hot 100’s Top 10
39, “Circles,” Post Malone, 2019-20
34, “Blinding Lights,” The Weeknd, 2020
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” leads the multi-metric Hot R&B Songs chart for a record-extending 30th week and Radio Songs (79.4 million, down 1%) for a record-furthering 25th frame.

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, repeats at No. 7 and Gabby Barrett’s “I Hope,” featuring Charlie Puth, reaches a new peak, ascending 10-8, as it rules the multi-metric Hot Country Songs chart for a 12th week.

21 Savage and Metro Boomin debut two co-billed songs in the Hot 100’s top 10 from their new album Savage Mode II, as “Runnin” and “Mr. Right Now” bound in at Nos. 9 and No. 10, respectively. On Streaming Songs, the tracks start at Nos. 2 and 3 with 26.1 million and 24.7 million respective streams.

21 Savage scores his second and third Hot 100 top 10s, following his featured turn on Post Malone’s “Rockstar,” which reigned for eight weeks in 2017. Metro Boomin earns his first and second top 10s as a billed artist, after writing six top 10s, and producing five, including two No. 1s: Migos’ “Bad and Boujee,” featuring Lil Uzi Vert (2017), and The Weeknd’s “Heartless” (2019).

As Drake is featured on “Mr. Right Now,” he notches his record-extending 42nd Hot 100 top 10, pushing further ahead of runner-up Madonna (38). Plus, Drake posts his record-padding 27th title to debut in the top 10.

(As for last week’s Hot 100 No. 1, Travis Scott’s “Franchise,” featuring Young Thug and M.I.A., it plummets to No. 25 from the summit, where it debuted. Down 40% in streams (to 11.7 million) and 85% in sales (to 15,000), the song makes the second-steepest drop from No. 1 to another rank in the Hot 100’s history; 6ix9ine and Nicki Minaj’s “Trollz” tumbled from the top, where it began, to No. 34 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 Oct. 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 13).

Source: billboard.com