Plus: A Boogie Wit da Hoodie, Tame Impala and Monsta X debut in top 10.

Justin Bieber scores his seventh No. 1 album on the Billboard 200 chart as Changes debuts atop the tally. The set, which was released on Feb. 14 via SchoolBoy/Raymond Braun/Def Jam Recordings, earned 231,000 equivalent album units in the U.S. in the week ending Feb. 20, according to Nielsen Music/MRC Data.

Bieber leads a busy top 10, where A Boogie Wit da Hoodie, Tame Impala and Monsta X also arrive with their latest efforts.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 29-dated chart, where Changes enters at No. 1, will be posted in full on Billboard‘s website on Feb. 25.

Changes’ 231,000 first-week units represent the third-largest week of 2020 for an album, behind the debut frames of Eminem’s Music to Be Murdered By (279,000; chart dated Feb. 1) and Halsey’s Manic (239,000; also Feb. 1).

Changes is Bieber’s first album in more than four years, since Purpose debuted at No. on the Dec. 5, 2015-dated chart with 649,000 units (with 522,000 of that sum in album sales).

Of Changes’ first-week sum, 126,000 are in album sales, 101,000 are in SEA units (equating to 135 million on-demand streams of the songs on the album) and 4,000 are in TEA units. The album’s sales were bolstered by a concert ticket/album sale redemption offer with Bieber’s upcoming tour, and many merchandise/album bundle offers sold via Bieber’s official webstore.

Notably, at 25, Bieber is the youngest solo artist to achieve seven No. 1 albums. (He turns 26 on March 1.) Previously, the youngest soloist to land seven No. 1s was Elvis Presley, who logged his seventh leader (of 10 total) when he was 26 years and 11 months old (with Blue Hawaii on Dec. 11, 1961).

If one included groups in our calculation, all four members of The Beatles were younger than Bieber on the occasion of the band’s seventh No. 1. The Fab Four achieved their seventh leader (of a record 19) with Rubber Soul on Jan. 8, 1966. At the time, the oldest member of the group was Ringo Starr, who was only 25 years and six months old, while the youngest member, George Harrison, was just 22 years and 10 months old.

Changes marks not only Bieber’s seventh No. 1, but his ninth top 10 effort — the entirety of his charting albums. Here’s a look at all nine of his albums on the Billboard 200: Changes (No. 1), Purpose (No. 1; Dec. 5, 2015), Believe: Acoustic (No. 1; Feb. 16, 2013), Believe (No. 1; July 7, 2012), Under the Mistletoe (No. 1; Nov. 19, 2011), Never Say Never: The Remixes EP (No. 1; March 5, 2011), My Worlds Acoustic (No. 7; Dec. 11, 2010), My World 2.0 (No. 1 for four weeks; April 10, 2010) and My World EP (No. 5; April 10, 2010).

At No. 2 on the new Billboard 200, A Boogie Wit da Hoodie’s Artist 2.0 debuts with 111,000 equivalent album units — nearly all from streaming activity. Of the set’s starting sum, 106,000 are in SEA units (equaling 149 million in on-demand streams of songs from the album), making it the No. 1 most-streamed album of the week. The remainder of the album’s units were driven by album sales (3,000) and TEA units (1,000). Artist 2.0 is A Boogie Wit da Hoodie’s sixth charting album and third top 10 effort, following Hoodie SZN (No. 1 on Jan. 19, 2019) and The Bigger Artist (No. 4 on Oct. 21, 2017). Of note, the rapper’s last album, Hoodie SZN, also debuted at No. 2 (on Jan. 5, 2019), but waited until Jan. 19 to ascend to No. 1.

Tame Impala achieves its highest charting album ever on the Billboard 200, as The Slow Rush bows at No. 3 with 110,000 equivalent album units (with 80,000 of that in album sales). The act previously topped out at No. 4 in 2015 with Currents. Further, The Slow Rush logs Tame Impala its best sales week for an album, trumping the 45,000 first-week sales of Currents. (The Slow Rush’s sales were goosed by a concert ticket/album sale redemption offer with the act’s upcoming tour, as well as a handful of merchandise/album sale bundles sold via its webstore.)

The Slow Rush was also a hot seller on vinyl LP, as 32% of the album’s first-week sales were generated by its vinyl configuration. The set sold just under 26,000 vinyl copies — the seventh-biggest sales week for a vinyl album since Nielsen Music/MRC Data began tracking music data in 1991. (The largest week for a vinyl album in the Nielsen era was logged by the debut week of Jack White’s Lazaretto in 2014, with 40,000 sold.)

Roddy Ricch​’s Please Excuse Me for Being Antisocial falls from No. 1 to No. 4 on the new Billboard 200 chart with 70,000 equivalent album units earned (down 11%). The set has logged four total weeks on top.

Monsta X rounds out the new arrivals in the top 10, as the six-member South Korean vocal group makes its Billboard 200 chart debut at No. 5 with its first all-English-language album, All About Luv. The set launches with 52,000 equivalent album units earned, with 50,000 of that sum comprising album sales. All About Luv is Monsta X’s first album for Epic Records since signing with the label in 2019.

All About Luv‘s first week was bolstered by sales generated from a concert ticket/album sale redemption offer, a bevy of merchandise/album bundles, in-store appearances during street week, and more than a dozen different variants of the album available for fans to purchase (such as multiple CD editions, each with a different cover for one of the group’s members).

While All About Luv is Monsta X’s first Billboard 200 entry, the act has charted on other Billboard tallies since 2015 following its formation on a TV competition show in its home country that same year. Among those charting efforts were nine top 10s on the World Albums chart between 2016 and 2019 (all released via Starship Entertainment). The World Albums chart ranks the week’s most popular albums in the U.S. that are, generally speaking, titles that contain native music or native-language music from countries outside the U.S.

Back on the new Billboard 200, Post Malone’s former No. 1 Hollywood’s Bleeding descends from No. 2 to No. 6 with 50,000 equivalent album units earned (down 4%), while Billie Eilish​’s former leader When We All Fall Asleep, Where Do We Go? dips from No. 5 to No. 7 with 44,000 units (down 4%).

Pop Smoke’s Meet the Woo, V.2 is pushed down one spot to No. 8, though with an 11% increase in units (to 40,000) in its second week on the list. The album gains in the wake of fan reaction to the rapper’s death on Feb. 19.

Rounding out the new top 10 are Eminem’s former chart-topper Music to Be Murdered By, slipping from No. 3 to No. 9 with 39,000 equivalent album units earned (down 23%), and Halsey’s Manic, falling from No. 8 to No. 10 with 31,000 units (down 9%).

Source: billboard.com

Roddy Ricch‘s “The Box” spends a sixth week at No. 1 on the Billboard Hot 100.

Plus, Dua Lipa‘s “Don’t Start Now” jumps from No. 9 to No. 6 on the Hot 100, equaling her career-best rank. She first reached No. 6 two years ago with “New Rules.”

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Feb. 22) will update on Billboard.com tomorrow (Feb. 19).

“The Box,” released on Bird Vision/Atlantic Records, notches a seventh week at No. 1 on the Streaming Songs chart, despite a 6% drop to 59.2 million U.S. streams in the week ending Feb. 13, according to Nielsen Music/MRC Data.

The track pushes 9-8 on Digital Song Sales, down 2% to 11,000 sold in the week ending Feb. 13, and 15-13 on Radio Songs, gaining by 13% to 53 million all-format airplay audience impressions in the week ending Feb. 16, as it claims the Hot 100’s top Airplay Gainer honors for a fourth consecutive week. It’s the fifth song in the past two years to win the Airplay Gainer award for at least four weeks while holding the No. 1 spot, following fellow songs that first broke through largely due to streaming and quickly caught on at radio: Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus; Ariana Grande’s “7 Rings”; and Drake’s “In My Feelings” and “God’s Plan.”

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

The song is from the rapper’s debut LP, Please Excuse Me for Being Antisocial, which rebounds for a fourth week at No. 1 on the Billboard 200 chart.

Future’s “Life Is Good,” featuring Drake, spends its fifth consecutive week at No. 2 on the Hot 100, encompassing its entire run on the chart so far. It also keeps at No. 2 on Streaming Songs (39.7 million, up 6%), while rising 33-26 on Radio Songs (35.3 million, up 17%).

Notably, the song is the first ever to log its first five weeks on the Hot 100 at No. 2. It surpasses Mariah Carey’s “Always Be My Baby,” which became the first entry (of 32 to-date) to debut in the runner-up spot, on the chart dated April 6, 1996, and spent its first four frames on the tally at No. 2, before ascending to No. 1 for a two-week reign.

Post Malone’s “Circles” is stationary at No. 3 on the Hot 100, after three nonconsecutive weeks at No. 1, and notches an eighth week at No. 1 on Radio Songs (104.5 million, essentially even week-over-week).

Maroon 5’s “Memories” keeps at No. 4 on the Hot 100, after reaching No. 2, and Tones and I’s “Dance Monkey” is steady at its No. 5 highpoint.

Dua Lipa’s “Don’t Start Now” surges 9-6 on the Hot 100, matching her career-best rank. Her sole prior top 10, “New Rules,” reached No. 6 in February 2018.

“Start” ascends 7-4 on Radio Songs (76.7 million, up 6%), 11-10 on Digital Song Sales (11,000, down 5%) and 15-12 on Streaming Songs (17 million, up 6%).

Rounding out the Hot 100’s top 10, Arizona Zervas’ “Roxanne” repeats at No. 7, after reaching No. 4; Lewis Capaldi’s “Someone You Loved” drops 6-8, after it spent three weeks at No. 1; Dan + Shay and Justin Bieber‘s No. 4-peaking “10,000 Hours” descends 8-9, as it tops the multi-metric Hot Country Songs chart for a 19th week; and Billie Eilish’s “Everything I Wanted” is steady at No. 10, after it hit a No. 8 high in November.

Just outside the Hot 100’s top 10, Bieber’s “Intentions,” featuring Quavo, debuts at No. 11, marking the chart’s highest debut on the Feb. 22-dated chart. It opens at No. 3 on Streaming Songs (22.1 million) and No. 4 on Digital Song Sales (14,000), while drawing 15.9 million in radio reach. It arrives at No. 1 on the multi-metric Hot R&B Songs chart, where Bieber earns his third No. 1 and second in a lead role, following “Yummy,” which “Intentions” dethrones after a four-week reign.

Both songs are from Bieber’s new album, Changes, released Friday (Feb. 14) and likely due at No. 1 on next week’s Billboard 200.

Plus, Nicki Minaj‘s “Yikes” is the Hot 100’s second-highest new entry, bowing at No. 23, thanks to its No. 1 launch on Digital Song Sales (20,000) and No. 16 start on Streaming Songs (15.5 million). Minaj earns her fourth Digital Song Sales leader and first in a sole lead role, following trips to the top for a week each as featured on David Guetta’s “Turn Me On” (February 2012); with Jessie J and Ariana Grande on “Bang Bang” (August 2014); and as featured on BTS’ “Idol” (September 2018).

On the Hot 100, “Yikes” is Minaj’s 108th career entry, breaking her out of a tie with Kanye West and lifting her into sole possession of the fifth-most visits in the chart’s history (dating to the list’s Aug. 4, 1958, inception). Drake and the Glee Cast each lead with 207 appearances, followed by Lil Wayne (167) and Elvis Presley (109, with the Hot 100 having begun after his 1956 commercial breakthrough).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Feb. 19), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Green Day earns 11th top 10 album with ‘Father of All…’ & Pop Smoke scores first top 10 with ‘Meet the Woo, V.2.’

Roddy Ricch​’s Please Excuse Me for Being Antisocial continues its sustained success on the Billboard 200 albums chart, as the set returns to the top (rising 2-1) for a fourth nonconsecutive week at No. 1. The album earned 79,000 equivalent album units in the U.S. in the week ending Feb. 13 (down 8%), according to Nielsen Music/MRC Data.

Also in the new top 10: Green Day lands its 11th top 10 effort with Father of All… while Pop Smoke scores his first top 10 set with Meet the Woo, V.2.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 22-dated chart, where Please Excuse Me returns to No. 1, will be posted in full on Billboard‘s websites on Feb. 19 (one day later than usual, owed to the Presidents’ Day/Washington’s Birthday holiday on Feb. 17).

Please Excuse Me opened at No. 1 on the Dec. 21, 2019-dated chart, then fell from the top, only to return for three further visits: on Jan. 18, Feb. 8 and now, the new chart, dated Feb. 22. The last album to have four separate visits to No. 1 was Taylor Swift’s 1989, which reigned at No. 1 four a total of 11 weeks in four distinct runs at No. 1: Nov. 15-29, 2014 (three weeks at No. 1), Dec. 13-20, 2014 (two weeks), Jan. 3-24, 2015 (four weeks) and Feb. 14-21, 2015 (two weeks).

In Please Excuse Me’s 10 weeks on the Billboard 200, it has yet to depart the top four positions, only dipping to No. 4 once on the Feb. 1-dated list.

At No. 2 on the new Billboard 200, Post Malone’s former No. 1 Hollywood’s Bleeding climbs 5-2 with 52,000 equivalent album units earned (though down 5%). Another former leader is next on the list, as Eminem’s Music to Be Murdered By is steady at No. 3 with 51,000 units (down 26%).

Rock band Green Day collects its 11th top 10 effort, as Father of All… arrives at No. 4 with 48,000 equivalent album units earned. Of that sum, 42,000 are in album sales, enhanced by purchases of merchandise/album bundles via the group’s webstore.

Father of All… is the trio’s first studio album since 2016’s Revolution Radio, which debuted at No. 1 with 95,000 units, to become the act’s third chart-topper.

The bow of Father of All… comes just over 25 years after the band saw its first chart entry, Dookie, peak at No. 2 on the Billboard 200 dated Jan. 28, 1995. (The set entered the list nearly a year earlier, on Feb. 19, 1994, at No. 127.)

The new album was led by the single “Father of All…,” which peaked at No. 1 on the Mainstream Rock Songs airplay chart, No. 3 on the Alternative Songs airplay tally and No. 6 on Hot Rock Songs.

At No. 5 on the new Billboard 200, Billie Eilish​’s previous leader When We All Fall Asleep, Where Do We Go? rises one spot with 45,000 equivalent album units earned (but down 13%), while Lil Wayne’s Funeral falls from No. 1 to No. 6 in its second week with 44,000 units (down 68%).

Rapper Pop Smoke nets his first top 10 effort, as Meet the Woo, V.2 debuts at No. 7 with 36,000 equivalent album units earned. Streaming activity comprises the bulk of that sum, with SEA units totaling 31,000. Pop Smoke has only been on the chart once previously, with Meet the Woo, V.1, peaking at No. 173 on Aug. 31, 2019.

Rounding out the rest of the new top 10: Halsey’s Manic is a non-mover at No. 8 with 34,000 equivalent album units (down 21%), DaBaby​’s former No. 1 Kirk climbs 12-9 with 32,000 units (down 5%) and Taylor Swift’s previous leader Lover ascends 11-10 with 31,000 units (down 10%).

Source: billboard.com

“Dance Monkey” is also the first top five hit written solely by a woman in over eight years.

Roddy Ricch‘s “The Box” spends a fifth week at No. 1 on the Billboard Hot 100.

Plus, Tones and I‘s “Dance Monkey” ascends to the Hot 100’s top five, rising from No. 7 to No. 5, adding its latest chart honor after ruling multiple surveys worldwide. The song is additionally the first top five Hot 100 hit solely written by a woman in over eight years.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Feb. 15) will update on Billboard.com tomorrow (Feb. 11).

“The Box,” released on Bird Vision/Atlantic Records, notches a sixth week at No. 1 on the Streaming Songs chart, despite a 6% drop to 63.2 million U.S. streams in the week ending Feb. 6, according to Nielsen Music/MRC Data.

The track rebounds 16-9 on Digital Song Sales, up 7% to 12,000 sold in the week ending Feb. 6, and surges 25-15 on Radio Songs, gaining by 34% to 46.1 million all-format airplay audience impressions in the week ending Feb. 9, as it wins the Hot 100’s top Airplay Gainer award for a third consecutive week.

Notably, “The Box” is the 14th song released on Atlantic to lead the Hot 100 for at least five weeks in the chart’s six-decade history, a figure that has swelled by four since just the start of 2017. The label’s other such leaders in that recent stretch: Lizzo’s “Truth Hurts” (seven weeks, 2019) and Ed Sheeran’s “Perfect,” with Beyoncé (six weeks, 2017-18), and “Shape of You” (12 weeks, 2017).

“The Box” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a sixth week each.

Future’s “Life Is Good,” featuring Drake, spends its fourth consecutive week at No. 2 on the Hot 100, encompassing its entire run on the chart so far. It also keeps at No. 2 on Streaming Songs (37.6 million, down 13%).

The song is the second ever to log its first four weeks on the Hot 100 at No. 2, after Mariah Carey’s “Always Be My Baby” became the first entry (of 32 to-date) to launch in the runner-up spot, on the chart dated April 6, 1996. “Baby” waited patiently for four frames as Celine Dion’s “Because You Loved Me” ran up its No. 1 run to six weeks before ascending for a two-week reign of its own.

Post Malone’s “Circles” is steady at No. 3 on the Hot 100, after three nonconsecutive weeks at No. 1, and returns to No. 1 on Radio Songs, from No. 2, for a seventh week at the summit (103.6 million, up 2%).

Maroon 5’s “Memories” holds at No. 4 on the Hot 100, after reaching No. 2. It dips to No. 2 on Radio Songs (although with a less than 1% increase to 102.3 million), after it interrupted the reign of “Circles” on the ranking a week earlier, when it became the band’s seventh leader, the most among groups.

Tones and I’s “Dance Monkey” climbs 7-5 on the Hot 100, reaching the top five for the first time, as it rises 5-3 on Digital Song Sales (16,000, down 2%), 5-4 on Streaming Songs (22.8 million, up 2%) and 12-11 on Radio Songs (54.6 million, up 2%).

The song by the Australian singer-songwriter, real name Toni Watson, previously became the longest-leading No. 1 in her homeland, while topping multiple other global surveys, including the Official UK Singles chart, where it broke the record for the most time at No. 1 by a female soloist.

Meanwhile, Watson solely wrote “Dance Monkey,” and longtime chart fan Mark Blankenship recently tweeted about the rarity of a song written by one woman rising to the Hot 100’s upper reaches. Research reveals that the track is the first top five Hot 100 hit penned solely by a woman in nearly eight years, since Whitney Houston’s version of Dolly Parton’s “I Will Always Love You,” which Parton wrote by herself, reached No. 3 in March 2012 after Houston’s passing; the cover originally ruled for 14 weeks in 1992-93. Before that, Taylor Swift sent two songs that she solely wrote into the top five in 2010: “Mine” (No. 3 that August) and “Today Was a Fairytale” (No. 2 that February).

Solo-written top five Hot 100 hits in recent years by men are uncommon, too. The late Johnny Marks boasted two over the holidays (classics “Rockin’ Around the Christmas Tree” by Brenda Lee and “A Holly Jolly Christmas” by Burl Ives), while, before that, J. Cole notched one in 2019, “Middle Child.”

The last Hot 100 No. 1 written by just one person? Sheeran’s “Perfect.” And, the last such leader by a woman? Alicia Keys’ self-authored “Fallin’,” back in 2001. (Of the 247 songs to spend time at No. 1 since the start of 2000, only 11, or 4%, have been penned by a single writer.)

More “Monkey” business: “Dance Monkey” is the second top five Hot 100 hit with the word “monkey” in its title, after George Michael’s “Monkey,” which ruled for two weeks in 1988. (Hey, hey, an honorable mention: The Monkees earned six top five hits, in 1966-68; all reached the top three, with three hitting No. 1.)

Lewis Capaldi’s “Someone You Loved” slips 5-6 on the Hot 100, after it spent three weeks at No. 1; Arizona Zervas’ “Roxanne” rises 8-7, after reaching No. 4; and Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” drops 6-8, as it tops the multi-metric Hot Country Songs chart for an 18th week.

Rounding out the Hot 100’s top 10, Dua Lipa’s “Don’t Start Now” holds at its No. 9 high, while claiming top Streaming Gainer honors (16.1 million, up 12%), and Billie Eilish’s “Everything I Wanted” is steady at No. 10, after it hit a No. 8 peak to-date in November.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Feb. 11), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Top 10 debuts for Russ, Kesha, Louis Tomlinson & Yo Gotti.

Lil Wayne’s Funeral — which debuts at No. 1 — leads a packed top 10 on the Billboard 200 albums chart, where five albums bow in the region.

Funeral is the fifth leader for Lil Wayne, and it enters with 139,000 equivalent album units earned in the U.S. in the week ending Feb. 6, according to Nielsen Music/MRC Data. The album was released on Jan. 31 via Young Money/Republic Records and follows Lil Wayne’s chart-topping Tha Carter V, which was released in 2018.

In addition to Lil Wayne entering at No. 1, the top 10 also welcomes four further debuts in the region, from Russ, Kesha, Louis Tomlinson and Yo Gotti, marking the first time five albums have debuted in the top 10 simultaneously in seven months.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 15-dated chart, where Funeral starts at No. 1, will be posted in full on Billboard‘s websites on Feb. 11.

Lil Wayne previously topped the Billboard 200 with Tha Carter V (2018), Tha Carter IV (2011), I Am Not a Human Being (2010) and Tha Carter III (2008).

Funeral not only secures Lil Wayne his fifth leader, but also his 12th top 10 effort. He first hit the Billboard 200 just over 20 years ago, on the list dated Nov. 20, 1999, when Tha Block Is Hot debuted and peaked at No. 3.

Streaming activity drove 72% of Funeral’s first-week units, as, of its 139,000 total unit start, 99,000 were in SEA units. (That translates into 134 million on-demand streams for the album’s songs in its first week.) The remaining unit sum of its total first week was provided by 38,000 in album sales and 2,000 in TEA units. Funeral’s first-week album sales were bolstered sales from by a concert ticket/album sale redemption offer, as well as an array of merchandise/album bundles sold via his website.

At No. 2 on the new Billboard 200, Roddy Ricch​’s Please Excuse Me for Being Antisocial falls one spot with 86,000 equivalent album units earned (down 9%). Eminem’s former leader Music to Be Murdered By dips one rung to No. 3 with 69,000 units (down 22%), though the set’s album sales perked up by 55% to 22,000, as the album’s CD arrived in stores following its initial commercial release on digital download only.

Russ’s Shake the Snow Globe bows at No. 4 with 65,000 equivalent album units earned (with 39,000 of that sum in album sales, pumped by a concert ticket/album sale redemption offer, as well as merchandise/album bundles). It’s the third total and consecutive top 10 effort for the hip-hop artist, and it matches his highest-rank on the chart, first achieved with 2018’s Zoo. He also visited the top 10 with There’s Really a Wolf in 2017, debuting and peaking at No. 7.

Rap rules the entire top five on the Billboard 200, as Post Malone’s former No. 1 Hollywood’s Bleeding is steady at No. 5 with 55,000 equivalent album units earned (up 1%). The last time the top five albums were all rap titles was a little over a year ago, on the Jan. 26, 2019-dated list.

Billie Eilish​’s When We All Fall Asleep, Where Do We Go? slips 3-6 with 52,000 equivalent album units earned (down 16%). A week ago, the former No. 1 surged 10-3 in the wake of its multiple Grammy Award wins on Jan. 26, including album of the year.

Kesha snares her fourth top 10 album, as High Road bows at No. 7 with 45,000 equivalent album units. Of that starting sum, 35,000 were in album sales, aided by a concert ticket/album sale redemption offer with her upcoming tour, as well as merchandise/album bundle sales via her official website. Kesha previously clocked top 10s with Rainbow (No. 1 in 2017), Warrior (No. 6, 2012) and Animal (No. 1, 2010).

Halsey’s Manic descends four spots to No. 8 with 43,000 equivalent album units earned (down 23%).

Louis Tomlinson’s debut album Walls bows at No. 9 with 39,000 equivalent album units earned. Album sales comprise 35,000 of that sum, driven by a concert ticket/album sale redemption offer with his upcoming tour, as well as merchandise/album bundles.

Walls was released via 78/SYCO/Arista Records, and brings the relaunched Arista back to the top 10 after nearly nine years. The last time the venerable label appeared in the top 10 with a new album was on April 16, 2011-dated chart, when Jennifer Hudson’s then-new I Remember Me spent its second and final week in the top 10 (and No. 7), after debuting at No. 2 on the April 9, 2011-dated list. (In 2012, after the death of Whitney Houston, a number of her old albums, all released via Arista, revisited the top 10.)

Tomlinson is also the fifth and final member of One Direction, which landed four No. 1s of its own, to chart on the Billboard 200. Zayn was first out of the gate with Mind of Mine (No. 1 in 2016), and he followed it with the No. 61-peaking Icarus Falls in 2018. Then came Harry Styles with his self-titled debut (No. 1 in 2017) and his recent sophomore set, Fine Line (No. 1 in 2019). Niall Horan​’s debut Flicker entered at No. 1 in 2017, and he is prepping for the release of his second album Heartbreak Weather on March 13. Liam Payne was the fourth member of the group to reach the list, as his debut full-length album LP1 topped out at No. 111 in December.

Closing out the new top 10 on the Billboard 200 is Yo Gotti’s Untrapped, which starts at No. 10 with 35,000 equivalent album units earned. It’s the fourth top 10 effort for the rapper, and follows the No. 6-peaking I Still Am in 2017. Untrapped was driven largely by streaming activity, as SEA units comprise 27,000 of its total starting sum. It also netted 7,000 in album sales (bolstered by merchandise/album bundle sales) as well as a little under 1,000 in TEA units.

Source: billboard.com

Dua Lipa lands her second top 10, after “New Rules.”

Roddy Ricch‘s “The Box” logs a fourth week at No. 1 on the Billboard Hot 100.

Meanwhile, Maroon 5‘s “Memories,” at No. 4 on the Hot 100, takes over atop the Radio Songs airplay chart; Dua Lipa‘s “Don’t Start Now” surges from No. 15 to No. 9 on the Hot 100, becoming her second top 10; and Billie Eilish returns to the Hot 100’s top 10 with “Everything I Wanted,” at No. 10, following the premiere of its official video and her buzzworthy night at the 62nd annual Grammy Awards.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Feb. 8) will update on Billboard.com tomorrow (Feb. 4).

“The Box,” released on Bird Vision/Atlantic Records, adds a fifth week at No. 1 on the Streaming Songs chart, despite an 11% drop to 67 million U.S. streams in the week ending Jan. 30, according to Nielsen Music/MRC Data.

The track tumbles 8-16 on Digital Song Sales, down 14% to 11,000 sold in the week ending Jan. 30, but bounds 36-25 on Radio Songs, up 38% to 35.2 million all-format airplay audience impressions in the week ending Feb. 2, as it wins the top Airplay Gainer nod on the Hot 100 for a second consecutive week.

“The Box” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a fifth week each. The single is from Roddy Ricch’s debut studio album, Please Excuse Me for Being Antisocial, which adds a third nonconsecutive week at No. 1 on the Billboard 200.

Future’s “Life Is Good,” featuring Drake, continues at No. 2 on the Hot 100, after it debuted in the runner-up spot two weeks ago. The collaboration also keeps at No. 2 on Streaming Songs (43 million, up 5%).

Post Malone’s “Circles” rebounds 4-3 on the Hot 100, after three nonconsecutive weeks at No. 1.

Maroon 5’s “Memories” rises 5-4 on the Hot 100, after reaching No. 2. The track ascends 2-1 on Radio Songs (102.6 million, up 4%), becoming the band’s seventh leader, the most among groups since the list launched in 1990; Rihanna leads with 13 Radio Songs No. 1s, followed by Mariah Carey (11) and Bruno Mars (eight), while Katy Perry and Usher also boast seven apiece.

“Memories” concurrently crowns the Pop Songs radio airplay chart (3-1), where it’s Maroon 5’s record-tying 11th No. 1, matching the sums of Perry and Rihanna, dating to the survey’s 1992 inception. (Maroon’s Adam Levine has also achieved two Pop Songs No. 1s in featured solo roles: on Gym Class Heroes’ “Stereo Hearts,” in 2011, and R. City’s “Locked Away,” in 2015.)

The track additionally dominates the Adult Pop Songs airplay chart for a 10th week, marking Maroon 5’s fourth No. 1 to lead for double-digit weeks (among the act’s record 14 No. 1s). “Girls Like You,” featuring Cardi B, reigned for 14 frames in 2018 and “She Will Be Loved” and “This Love” each ruled for 13 weeks in 2004. Only matchbox twenty also boasts four Adult Pop Songs No. 1s that have led for at least 10 weeks each (while frontman Rob Thomas has tallied two as a soloist).

As previously reported, when “Memories” rose to No. 2 on the Hot 100 dated Jan. 11, Maroon 5 became the second group ever with top-two hits in each of three decades (2000s, ’10s and ’20s), joining The Rolling Stones (1960s, ’70s and ’80s).

Lewis Capaldi’s “Someone You Loved” climbs 8-5 on the Hot 100, after it spent three weeks at No. 1; Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” is steady at No. 6, as it tops the multi-metric Hot Country Songs chart for a 17th week; Tones and I’s “Dance Monkey” holds at its No. 7 Hot 100 high; and Arizona Zervas’ “Roxanne” rises 9-8, after reaching No. 4.

Dua Lipa’s “Don’t Start Now” soars 15-9 on the Hot 100. It pushes 8-7 on Radio Songs (67.6 million, up 12%) and 31-23 on Streaming Songs (14.3 million, up 6%); it dips 12-15 on Digital Song Sales, but with a 12% gain to 11,000 sold.

The English singer-songwriter scores her second Hot 100 top 10, after “New Rules” reached No. 6 in February 2018.

“Start” has hit the top 10 on multiple global charts and has topped Billboard‘s U.S.-based Dance Mix/Show Airplay and Dance Club Songs surveys.

Rounding out the Hot 100’s top 10, Billie Eilish bounds 23-10 with “Everything I Wanted,” which returns to the tier after it reached No. 8 on the chart dated Nov. 30 (its only other week in the region).

After its official proper video, which Eilish directed, premiered Jan. 23, the track surges 29-6 on Streaming Songs (21.3 million, up 48%, good for top Streaming Gainer honors on the Hot 100) and 20-10 on Digital Song Sales (15,000, up 105%). On Radio Songs, it rises 29-24 (35.6 million, up 17%).

Also aiding Eilish’s profile, she won five Grammy Awards on Jan. 26, including for best new artist, album of the year, for When We All Fall Asleep, Where Do We Go?, and record and song of the year, for “Bad Guy,” becoming the first woman, and second artist ever, after Christopher Cross in 1981, to sweep the four major categories in the same night.

“Bad Guy,” meanwhile, flies 41-17 on the Hot 100, after it topped the Aug. 24, 2019-dated chart. It vaults 22-3 on Digital Song Sales (20,000, up 185%, making it the top Sales Gainer on the Hot 100) and re-enters Streaming Songs at No. 18 (16.3 million, up 50%).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Feb. 4), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Roddy Ricch’s Please Excuse Me for Being Antisocial returns to No. 1 on the Billboard 200 albums chart for a third nonconsecutive week, while Billie Eilish’s When We All Fall Asleep, Where Do We Go? vaults back into the top three after Eilish’s big night at the Grammy Awards.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 8-dated chart, where Please Excuse Me returns to No. 1, will be posted in full on Billboard‘s websites on Feb. 4.

Please Excuse Me moves back to the top of the tally after earning a little under 95,000 equivalent album units (down 8%) in the U.S. in the week ending Jan. 30, according to Nielsen Music/MRC Data. The album has spent a total of three weeks at No. 1, all in separate one-week visits to the top. It bowed at No. 1 on the Dec. 21, 2019-dated chart, then fell away from the top for three weeks, returned to No. 1 on Jan. 18, stepped away for two weeks, and now climbs back to the summit. The last album to have three separate visits to No. 1 was Eilish’s When We All Fall Asleep, which was No. 1 for three weeks in 2019, and all in one-week visits to the top, like Please Excuse Me. When We All Fall Asleep was No. 1 on April 13 (its debut week), May 4 and June 8.

The vast majority of Please Excuse Me’s units in the latest tracking week was driven by streaming activity, with 92,000 SEA units contributing to its overall total of just under 95,000 units. The album’s remaining units were registered via a little more than 1,000 TEA units and about 1,000 in album sales.

Eminem’s Music to Be Murdered By falls to No. 2 after its big debut at No. 1 a week ago. The set earned 89,000 equivalent album units in its second week (down 68%).

Billie Eilish’s former No. 1 When We All Fall Asleep, Where Do We Go? bolts back into the top three with a 77% increase, as it climbs 10-3 with 62,000 equivalent album units earned. Eilish and her brother Finneas, who co-wrote and produced When We All Fall Asleep, were the big winners at the Grammy Awards on Jan. 26, as they took home five awards each. Eilish also made history as the first woman, and second artist ever, to win the top four categories: album of the year (for When We All Fall Asleep), record of the year, song of the year (both for the When We All Fall Asleep single “Bad Guy”) and best new artist.

Eilish’s previous effort, Dont Smile at Me, also collects a big increase, rising 33-22 with a 36% gain, earning 23,000 units. The album peaked at No. 14 at little over a year ago (Jan. 26, 2019-dated chart).

Halsey’s Manic falls 2-4 in its second week, earning 56,000 equivalent album units (down 77%), while Post Malone’s former No. 1 Hollywood’s Bleeding is steady at No. 5 with 54,000 units (up 3%).

Mac Miller’s Circles slips 3-6 with 45,000 equivalent album units earned (down 73%), while DaBaby’s previous leader Kirk rises 8-7 with 36,000 units (while down 2%). Harry Styles’ former chart-topper Fine Line moves up 9-8 with 33,000 units (though down 7%), Moneybagg Yo’s Time Served descends 7-9 with 31,000 units (down 17%) and Jackboys’ self-titled set returns to the top 10, jumping 14-10 with 30,000 units (while down 1%).

Source: billboard.com

Eminem adds his 22nd Hot 100 top 10.

Roddy Ricch‘s “The Box” posts a third week at No. 1 on the Billboard Hot 100.

Meanwhile, Eminem‘s “Godzilla,” featuring Juice WRLD, blasts onto the Hot 100 at No. 3. The track is from Eminem’s new album, Music to Be Murdered By, which launches at No. 1 on the Billboard 200 chart.

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

“The Box,” released on Bird Vision/Atlantic Records, logs a fourth week at No. 1 on the Streaming Songs chart, down by 3% to 75 million U.S. streams in the week ending Jan. 23, according to Nielsen Music/MRC Data. The latest streaming total and the sum the week before (77.2 million) mark the two highest weekly tallies for a song over the past six months, both so far without the aid of an official proper video — although one has, according to the label, recently been filmed. The song’s official audio video was released on Dec. 6, while a lyric video arrived Jan. 9.

The track dips 7-8 on Digital Song Sales, down 5% to 13,000 sold in the week ending Jan. 23, while jumping 50-36 on Radio Songs, bounding by 38% to 25.6 million all-format airplay audience impressions in the week ending Jan. 26. It surges to the top 10 on both the Rhythmic Songs (15-10) and Mainstream R&B/Hip-Hop (20-10) radio airplay charts and debuts at No. 40 on the mainstream top 40-based Pop Songs airplay ranking, helping it claim top Airplay Gainer honors on the Hot 100 for the first time.

“The Box” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a fourth week each. The single is from Roddy Ricch’s debut studio album, Please Excuse Me for Being Antisocial, which bowed as the rapper’s first No. 1 on the Billboard 200, dated Dec. 21.

Future’s “Life Is Good,” featuring Drake, holds at No. 2 on the Hot 100, after it debuted in the runner-up spot a week ago. It keeps at No. 2 on Streaming Songs (which utilizes a weighted ranking methodology; 40.9 million, down 19%) and falls from No. 1 to No. 13 on Digital Song Sales (9,000, down 64%).

Eminem’s “Godzilla,” featuring Juice WRLD, soars in at No. 3 on the Hot 100. The collaboration also arrives at No. 3 on both Streaming Songs (41.1 million U.S. streams) and Digital Song Sales (24,000 sold).

Eminem earns his 22nd Hot 100 top 10, marking the 16th-highest total in the chart’s archives and the eighth-highest among solo males. The updated leaderboard for most Hot 100 top 10s, dating to the list’s Aug. 4, 1958, inception: Madonna (38); Drake (36); The Beatles (34); Rihanna (31); Michael Jackson (30); Mariah Carey, Stevie Wonder (28 each); Elton John, Janet Jackson (27 each); Elvis Presley, Taylor Swift (25 each); Lil Wayne (24); Whitney Houston, Paul McCartney, The Rolling Stones (23 each); and Eminem (22).

Eminem also achieves 13th debut in the Hot 100’s top 10, the third-most after Drake (22) and Swift (15).

Meanwhile, the late Juice WRLD appears in the Hot 100’s top 10 with a third title. “Lucid Dreams” hit No. 2 in October 2018 (and returned to the region, at No. 8, last month following his death on Dec. 8) and “Bandit,” with YoungBoy Never Broke Again, reached No. 10 this past October.

Post Malone’s “Circles” drops 3-4 on the Hot 100, after three nonconsecutive weeks at No. 1, as it scores a sixth week atop Radio Songs, up by 1% to 102.8 million in airplay audience.

Rounding out the Hot 100’s top five, Maroon 5’s “Memories” slips 4-5, after reaching a No. 2 high.

Dan + Shay and Justin Bieber’s No. 4-peaking “10,000 Hours” rebounds 7-6 on the Hot 100, as it tops the multi-metric Hot Country Songs chart for a 16th week, as well as Country Airplay for a second frame. As previously reported, the latter chart marks the 10th airplay ranking that Bieber has ruled, dating to his first such No. 1, “As Long as You Love Me” (featuring Big Sean), which reached the Rhythmic Songs summit in October 2012.

Tones and I’s “Dance Monkey” swings back to its No. 7 Hot 100 highpoint, from No. 8; Lewis Capaldi’s “Someone You Loved” descends 6-8, following its three-week command; Arizona Zervas’ “Roxanne” remains at No. 9, after rising to No. 4; and Selena Gomez’s “Lose You to Love Me” falls 5-10, following its one-week rule.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Jan. 28), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Halsey and Mac Miller debut in top three.

Eminem notches his historic 10th No. 1 album on the Billboard 200 chart with his latest release, Music to Be Murdered By. The set debuts atop the tally with 279,000 equivalent album units earned in the U.S. in the week ending Jan. 23, according to Nielsen Music.

Music to Be Murdered By was surprise-released on Jan. 17 via Shady/Aftermath/Interscope Records. It’s Eminem’s first album since another surprise release, Kamikaze, which dropped in 2018 and bowed at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 1-dated chart (where Music to Be Murdered By debuts at No. 1) will be posted in full on Billboard‘s websites on Jan. 28.

Of Music to Be Murdered By’s total starting sum of 279,000 units, 154,000 are in SEA units, 117,000 are in album sales, and 8,000 are in TEA units. The 154,000 SEA sum equates to 217.6 million on-demand streams for the album’s tracks. That’s the largest streaming week for an album in four months (even counting just audio streams alone), since Post Malone’s Hollywood’s Bleeding tallied 220.9 million clicks in its second week of release (chart dated Sept. 28, 2019).

Here’s a look at some of the amazing feats Eminem achieves with his latest No. 1:

One of Only Six Acts With 10 or More No. 1 Albums: Eminem is just the sixth act with at least 10 No. 1 albums. He joins The Beatles (with a record 19), Jay-Z (14), Bruce Springsteen (11), Barbra Streisand (11) and Elvis Presley (10).

Record-Extending 10th No. 1 Debut in a Row: Eminem breaks out of a tie with Kanye West for the most No. 1 debuts in a row on the Billboard 200, as Music to Be Murdered By clocks his 10th consecutive chart-topping arrival. West most recently notched his ninth straight No. 1 debut with Jesus Is King in 2019.

Record-Extending 10th Consecutive No. 1: For both Eminem and West, all of their No. 1s have been consecutive, and all also debuted at No. 1. In turn, Eminem also shakes off a tie with West for the most No. 1 albums in a row.

For both artists, they have only missed No. 1 once in their entire charting history: Eminem with his first entry, 1999’s The Slim Shady LP, and West with his first effort, 2004’s The College Dropout. Both albums debuted and peaked at No. 2.

Back on the new Billboard 200, Halsey’s Manic debuts at No. 2, marking her third straight album to bow in the top two on the tally. Further, as Manic starts with 239,000 equivalent album units earned, it marks Halsey’s biggest week ever, and the largest week for an album by a woman since Taylor Swift’s Lover blew in at No. 1 with 867,000 units on the chart dated Sept. 7, 2019.

Also impressive: Manic’s 239,000-unit start is the biggest week for a No. 2 album since May 14, 2016, when Beyoncé​’s Lemonade was in its second week on the tally (321,000 units).

Manic follows Halsey’s Hopeless Fountain Kingdom (No. 1 in 2017), and Badlands (No. 2 in 2015). In addition, she notched an entry with the 2014 EP Room 93, which topped out at No. 159.

Of Manic’s debut unit sum of 239,000 units, album sales comprise 180,000, while SEA units total 56,000 (equating to 75.6 million on-demand streams of songs on the album) and TEA units account for 3,000. Manic’s first-week album sales number was mostly driven by sales generated by a concert ticket/album sale redemption offer with Halsey’s upcoming U.S. tour, as well as an array of merchandise/album bundles sold through her official webstore.

The third and final debut in the top 10 is Mac Miller’s first posthumous album, Circles. The set marks Miller’s sixth top 10, and it begins with 164,000 equivalent album units earned. That is Miller’s biggest week for an album, in terms of units earned, since the chart began ranking by equivalent album units in December of 2014.

Of Circles’ start of 164,000 units, 102,000 are SEA (equating to 153.5 million on-demand streams of tunes from the set), 61,000 are album sales (boosted by merchandise/album bundles sold through Miller’s website) and a little over 1,000 are TEA units.

Circles closes out a busy top three on the tally — where Nos. 1-3 are all debuts, and all start with 164,000-plus units. That’s the first time the chart’s top three have all been debuts north of 164,000 units since the chart began ranking titles by equivalent album units in December of 2014.

Further, setting aside debuts in the top three, this is the first time that the top three albums of the week have earned over 164,000 units in more than three years. It last happened on the June 11, 2016 list, when Drake’s Views held at No. 1 with 189,000, Ariana Grande’s Dangerous Woman debuted at No. 2 with 175,000, and Blake Shelton’s If I’m Honest entered at No. 3 with 170,000.

Back in the Billboard 200’s new top 10, Roddy Ricch​’s Please Excuse Me for Being Antisocial falls 2-4 with 103,000 equivalent album units earned (down 7%), while Post Malone’s Hollywood’s Bleeding slips 4-5 with 53,000 units (down 12%). Selena Gomez’s Rare descends 1-6 with 38,000 units (down 66%), Moneybagg Yo’s Time Served slides 3-7 with 37,000 units (down 43%) and DaBaby​’s Kirk falls 5-8 with 37,000 units (down 14%).

Closing out the new top 10: Harry Styles’ Fine Line drops 6-9 with 36,000 equivalent album units earned (down 12%) and Billie Eilish​’s When We All Fall Asleep, Where Do We Go? moves 9-10 with 35,000 units (up 2%).

Source: billboard.com

Plus: Moneybagg Yo’s “Time Served” launches at No. 3.

Selena Gomez earns her third No. 1 album on the Billboard 200 chart, as Rare launches atop the tally. The set, which was released Jan. 10 via Interscope Records, starts with 112,000 equivalent album units earned in the U.S. in the week ending Jan. 16, according to Nielsen Music.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 25-dated chart (where Rare bows at No. 1) will be posted in full on Billboard‘s websites on Wednesday, Jan. 22 (one day later than usual, owed to the Martin Luther King Jr. Day holiday on Monday, Jan. 20).

In total, Rare’s start of 112,000 units was powered by nearly 56,000 in SEA units (equating to 79.3 million on-demand streams for album’s tracks), just under 53,000 in album sales, and a little over 3,000 in TEA units. (All numbers are rounded to the nearest thousand.)

Notably, unlike many releases, Rare’s bow was not enhanced by album sales generated from a concert ticket/album sale redemption offer. However, it did get an assist from sales of many merchandise/album bundles sold via Gomez’s official website, as well as a deluxe CD with bonus tracks available only at Target.

Rare is Gomez’s sixth top 10 album on the Billboard 200 in total — the entirety of her studio efforts (both as a proper solo artist, and those with former backing band The Scene). Here’s a rundown of Gomez’s top 10s: Rare (No. 1), Revival (in 2015, No. 1), Stars Dance (2013, No. 1); and then her three projects with The Scene, When the Sun Goes Down (2011, No. 3), A Year Without Rain (2010, No. 4) and Kiss and Tell (2009, No. 9). The only Gomez album to miss the top 10 is the greatest hits package For You, which peaked at No. 24 in 2014.

Rare was led by the songs “Lose You to Love Me” and “Look at Her Now.” The former became her first No. 1 on the Billboard Hot 100 chart, vaulting 15-1 on the list dated Nov. 9, 2019.

At No. 2 on the new Billboard 200, Roddy Ricch​’s Please Excuse Me for Being Antisocial falls one rung with 110,000 equivalent album units earned — though the set is up by 14% for the week (compared to the 97,000 units it tallied in the previous week). The rapper’s album continues to profit from the huge streaming popularity of its song “The Box,” which jumped to No. 1 on the Hot 100 chart a week ago (dated Jan. 18).

Of Please Excuse Me’s total unit sum of 110,000 in the week ending Jan. 16, the vast majority was driven by streaming activity. 107,000 of its overall total are SEA units (up 13%), while just under 2,000 are TEA units (up 22%) and a little over 1,000 are album sales (up 30%). The album’s 107,000 SEA units sum equates to 163.04 million in on-demand streams for the set’s songs in the tracking week.

The second and final debut in the top 10 on the new Billboard 200 chart is Moneybagg Yo’s new Time Served, which starts at No. 3. The effort secures the rapper his highest charting album, as it enters with 66,000 equivalent album units earned, driven largely by streaming activity (59,000 SEA units, which translates to 84.1 million on-demand streams for the set’s songs during the week). Moneybagg Yo previous visited the top 10 with 43VA Heartless (No. 4 in 2019) and Federal 3x (No. 5 in 2017).

The rest of the new top 10 comprises former No. 1s. Post Malone’s Hollywood’s Bleeding dips 2-4 with 60,000 equivalent album units (down 8%), DaBaby’s Kirk rises 6-5 with 43,000 units (up 5%) and Harry Styles’ Fine Line falls 3-6 with 41,000 units (down 16%). Jackboys’ self-titled album descends 4-7 with 38,000 units (down 18%), the Frozen II soundtrack slips 5-8 with 35,000 units (down 15%), Billie Eilish​’s When We All Fall Asleep, Where Do We Go? moves 7-9 with 35,000 units (down 8%) and Young Thug’s So Much Fun dips 8-10 with 32,000 units (down 7%).

Source: billboard.com