West matches Eminem for the most consecutive No. 1 debuts on the chart.

Kanye West returns to a familiar spot on the Billboard 200 albums chart, as his latest release, Jesus Is King, debuts at No. 1. It’s his record-tying ninth consecutive debut at No. 1, matching Eminem’s still-active streak for the longest in the chart’s history.

Jesus Is King was released on Oct. 25 via G.O.O.D. Music/Def Jam Recordings and earned 264,000 equivalent album units in the U.S. in the week ending Oct. 31, according to Nielsen Music. Of that sum, 109,000 were in album sales, while the rest was powered largely by streaming activity.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 9-dated chart (where Jesus Is King bows to No. 1) will be posted in full on Billboard‘s websites on Nov. 5.

Of Jesus Is King’s total unit start of 264,000, album sales comprise 109,000, TEA units equal 3,000 and SEA units total 151,000. The latter sum translates to 196.9 million on-demand audio streams for the album’s 11 tracks.

Here are some notable feats West achieves with the arrival of Jesus Is King:

West’s Record-Tying Ninth Consecutive No. 1 Debut: Jesus Is King continues a remarkable streak on the Billboard 200 for West. The set marks his record-tying ninth straight album to debut at No. 1; the entirety of his charting efforts from 2005 through 2019 have opened in the top slot. His only album to miss No. 1 was his debut effort, 2004’s The College Dropout, which debuted and peaked at No. 2.

West ties Eminem for the most consecutive No. 1 debuts, as the latter has entered at No. 1 with his last nine releases — from 2000’s The Marshall Mathers LP through 2018’s Kamikaze. Like West, Eminem has also only missed the No. 1 position once, also with his debut charting effort, 1999’s The Slim Shady LP, which debuted and peaked at No. 2.

Among all acts, Jay-Z has the most debuts at No. 1 on the Billboard 200, with 14 — but they were not consecutive.

Nine No. 1s in a Row: West and Eminem are also now tied for the most consecutive No. 1s on the Billboard 200. They are both ahead of the Beatles, which saw all eight of their charting efforts between 1965’s Beatles VI and 1968’s self-titled album (White Album) reach No. 1.

Unlike West and Eminem, none of those albums from the Beatles debuted at No. 1 (per common practice before the advent of electronically tracked music activity by Nielsen Music in 1991). All eight of them climbed to the top, after debuting at lower positions.

Sixth-Most No. 1s on the Billboard 200: With a ninth No. 1 on the Billboard 200, West ties five other acts for the sixth-most No. 1s in the history of the chart (which dates back to 1956), as he now stands alongside Garth Brooks, Drake, Eminem, Madonna and the Rolling Stones. Ahead of all of them: the Beatles with a record 19 No. 1s; Jay-Z (14); Bruce Springsteen and Barbra Streisand (11 each); and Elvis Presley (10).

Sixth No. 1 of the Decade: Jesus Is King marks West’s sixth No. 1 in the 2010s, matching the number earned by both Future and Justin Bieber since 2010. Only Drake, with nine No. 1s this decade, has more. (All nine of Drake’s No. 1s on the chart have come since 2010, starting with Thank Me Later.)

Fifth-Biggest Streaming Week of 2019: Jesus Is King’s first-week SEA units totaled 151,000, which equates to 196.9 million on-demand audio streams for the 11 tracks on the album. That’s the fifth-largest streaming week for any album in 2019, behind only the debut frames of Post Malone’s Hollywood’s Bleeding (365.4 million), Ariana Grande’s Thank U, Next (307.1 million), Taylor Swift’s Lover (226.1 million) and the second week of Bleeding (220.9 million).

West’s Biggest Streaming Week Ever: With Jesus Is King launching with 196.9 million on-demand audio streams for its tracks, it surpasses West’s previous biggest streaming week, logged when Ye bowed with 180.1 million in 2018. (Notably, Ye only had seven tracks, versus King’s 11. So, Ye had an average of 25.7 million streams per track, while King had 17.9 million per track.)

Second-Largest Sales Week of 2019 for an R&B/Hip-Hip Album: With 109,000 copies sold, Jesus Is King collects the second-biggest sales week of 2019 for an R&B/hip-hop album. King is second only to the debut frame of Post Malone’s Hollywood’s Bleeding, with 200,000 sold. King’s first week was bolstered by an array of merchandise/album bundles sold via West’s official webstore, as well as albums sold bundled with a pre-sale code for early access to upcoming West events (including a trio at the Forum in Los Angeles, a pair of recent Sunday Service programs and an album launch/listening event).

At No. 2 on the new Billboard 200, Post Malone’s Hollywood’s Bleeding falls one spot with 81,000 equivalent album units (down 12%).

English singer and multi-instrumentalist Rex Orange County (real name: Alex O’Connor) bows at No. 3 with his major-label debut, Pony. The set, his first release for RCA Records after two independently distributed albums, starts with 70,000 equivalent album units. Of that sum, 56,000 were in album sales, boosted by a concert ticket/album sale redemption offer with his upcoming U.S. tour and an array of merchandise/album bundles sold via his webstore.

YoungBoy Never Broke Again’s former No. 1 AI YoungBoy 2 falls 2-4 on the Billboard 200, with 64,000 equivalent album units (down 20%), while Summer Walker’s Over It descends 3-5 with 60,000 units (down 14%). A trio of former leaders are up next, as DaBaby’s Kirk dips 4-6 with 40,000 units (down 18%), Taylor Swift’s Lover drops 5-7 with 35,000 units (down 12%) and Billie Eilish’s When We All Fall Asleep, Where Do We Go? retreats 6-8 with 32,000 units (down 1%).

Country band Old Dominion nabs its second top 10 on the Billboard 200 chart, as the quintet’s new self-titled set arrives at No. 9 with 31,000 equivalent album units earned (with 19,000 of that sum in album sales). The group previously visited the top 10 with 2017’s Happy Endings, which debuted and peaked at No. 7 (starting with 41,000 units).

Closing out the new Billboard 200’s top 10 is Young Thug’s former leader So Much Fun, which falls 7-10 with 28,000 equivalent album units (down 10%).

Source: billboard.com

The song reigns in the U.S. after ruling multiple charts worldwide.

A sad song leads to joyous news for Lewis Capaldi, as his breakthrough ballad “Someone You Loved” rises to No. 1 on the Billboard Hot 100.

The track by the 23-year-old Scottish singer-songwriter, released on Vertigo/Capitol Records, previously ruled multiple charts globally, including the Official UK Singles survey, for seven weeks beginning in March.

Let’s run down the top 10 of the Hot 100 (dated Nov. 2), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 29).

Here’s a deeper look at the 1,091st No. 1 in the Hot 100’s six-decade history.

Airplay, sales & streams: “Someone” rises 3-2 on the Radio Songs chart, despite a 2% dip to 105.6 million audience impressions in the week ending Oct. 27, according to Nielsen Music. It pushes 5-2 on Digital Song Sales with a 41% surge to 24,000 sold in the week ending Oct. 24, good for the Hot 100’s top Sales Gainer award. On Streaming Songs, the track ascends 11-8 (reaching the top 10 for the first time), up 2% to 25.2 million U.S. streams, in the week ending Oct. 24.

Adding to the song’s profile in the tracking week, it played during a routine in the Oct. 21 episode of ABC’s Dancing With the Stars.

Notably, “Someone” leads the Hot 100 while not topping any of the chart’s three component tallies, a distinction that last occurred with Shawn Mendes and Camila Cabello’s “Señorita” (Aug. 31), a week after Billie Eilish’s “Bad Guy” did the same (Aug. 24).

24 weeks to No. 1: “Someone” reaches the Hot 100’s summit in its 24th week on the chart, completing the fifth-lengthiest climb to No. 1 all-time. Among acts’ first Hot 100 entries, it wraps the second-longest trip to the top, after Vertical Horizon’s “Everything You Want” in 2000.

Here’s a recap:

Weeks to No. 1, Title, Artist, Date Reached No. 1
31, “Amazed,” Lonestar, March 4, 2000
30, “All of Me,” John Legend, May 17, 2014
27, “With Arms Wide Open,” Creed, Nov. 11, 2000
26, “Everything You Want,” Vertical Horizon, July 15, 2000
24, “Someone You Loved,” Lewis Capaldi, Nov. 2, 2019

“Someone” has steadily scaled the Hot 100, as it debuted on May 25, reached the top 40 on July 20 and entered the top 10 on Sept. 21.

Capitol conquers: While Capitol Records last led the Hot 100 as recently as January, for two weeks via Halsey’s “Without Me,” Capaldi is the first artist on the label to take a first Hot 100 entry to No. 1 in over 11 years, since Katy Perry’s “I Kissed a Girl” ruled for seven weeks starting in July 2008.

TMS on top: Capaldi co-wrote “Someone” with Sam Elliot “ROMANS” Roman, Tom Barnes, Pete Kelleher and Ben Kohn. Billed as TMS, Barns, Kelleher and Kohn produced the track. While all the talents enjoy their first No. 1 on the Hot 100, the TMS trio previously reached the top 10 as co-writers of G-Eazy and Bebe Rexha’s “Me, Myself & I,” which hit No. 7 in March 2016.

11 to 1: “Someone” is the 11th song to ascend to No. 1 on the Hot 100 in 2019, matching the total of all of 2018. With the latest chart dated Nov. 2, this year marks the fastest accumulation of 11 leaders in a year since 2011, when the 11th No. 1 reached the summit that Sept. 10.

The relatively rapid turnover atop the Hot 100 in 2019 is especially notable given that Lil Nas X blocked all competitors for a record 19 weeks (April 13-Aug. 17) with “Old Town Road,” featuring Billy Ray Cyrus.

Lizzo’s “Truth Hurts” drops to No. 2 on the Hot 100 after seven weeks at No. 1, as it remains tied with Iggy Azalea’s 2014 hit “Fancy,” featuring Charli XCX, for the longest reign for a rap song by a woman. “Truth” tops Radio Songs for a sixth week (111.9 million, down 3%), while sliding 2-5 on Digital Song Sales (17,000 sold, down 15%) and lifting 12-11 on Streaming Songs (21.7 million, down 7%).

“Truth” additionally tallies a ninth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Mendes and Cabello’s “Señorita” retreats 2-3 on the Hot 100, while two other tracks keep at their highpoints in the top five: Post Malone’s “Circles” (No. 4) and Chris Brown’s “No Guidance,” featuring Drake (No. 5), as the latter leads Hot R&B Songs for a ninth week.

Lil Nas X’s “Panini” pushes 9-6 on the Hot 100, after hitting No. 5, and Travis Scott’s “Highest in the Room” descends 6-7, after launching at No. 1 on the Oct. 19 chart, and leads Streaming Songs for a third week (33.8 million, down 9%).

Lil Tecca’s “Ran$om” backtracks 7-8 on the Hot 100; Eilish’s “Bad Guy” falls 8-9; and Dan + Shay and Justin Bieber’s “10,000 Hours” returns to the region (11-10), after debuting two weeks ago at No. 4, as it commands Hot Country Songs for a third week.

Just beyond the Hot 100’s top 10, Maroon 5’s “Memories” bumps 12-11, Ed Sheeran’s “Beautiful People,” featuring Khalid, rises 14-12 and Lizzo’s “Good as Hell” surges 20-14 and claims top Airplay Gainer honors for a second week (52.4 million in radio reach, up 22%), as all three songs hit new highs.

Plus, Selena Gomez blasts onto the Hot 100 at No. 15 with “Lose You to Love Me.” Released last Wednesday (Oct. 23), the ballad soars in at No. 1 on Digital Song Sales with 36,000 sold and No. 20 on Streaming Songs with 15.3 million streams, while drawing 14.1 million in radio audience.

The expected first taste of Gomez’s first album since Revival in 2015 marks her second-best Hot 100 debut, among 28 career visits; “Good for You” opened at No. 9 (and reached No. 5) in 2015.

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 follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Oct. 29), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Gucci Mane’s “Woptober II” debuts in top 10.

Post Malone’s Hollywood’s Bleeding becomes the first album released in 2019 to score four weeks at No. 1 on the Billboard 200 chart, as the set climbs 2-1 on the list. The album earned 93,000 equivalent album units in the U.S. in the week ending Oct. 24 (down 6%), according to Nielsen Music.

Hollywood’s Bleeding spent its first three weeks at No. 1 (charts dated Sept. 21 through Oct. 5). It returns to No. 1 on the latest tally, dated Nov. 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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 2-dated chart, where Hollywood’s Bleeding returns to No. 1, will be posted in full on Billboard‘s websites on Oct. 29.

Hollywood’s Bleeding is the first album to spend four weeks at No. 1 on the Billboard 200 chart since Lady Gaga and Bradley Cooper’s 2018 soundtrack to A Star Is Born racked up its fourth and final nonconsecutive week at No. 1 on the list dated March 9, 2019. (Star spent its first three weeks at No. 1, between Oct. 20-Nov. 3, 2018.)

Hollywood’s Bleeding is also now solely the Post Malone album with the most weeks at No. 1, as it surpasses the three weeks notched by his previous release, 2018’s beerbongs & bentleys.

At No. 2 on the new Billboard 200, YoungBoy Never Broke Again’s AI YoungBoy 2 slips down one spot after debuting at No. 1. In its second week, it earned 80,000 equivalent album units (down 27%).

Summer Walker’s Over It stays at No. 3 with 69,000 units (down 12%), DaBaby’s former No. 1 Kirk is a non-mover at No. 4 with 49,000 units (down 12%), and Taylor Swift’s former leader Lover rises 6-5 with 39,000 units (though down 10%).

A pair of previous chart-toppers are next on the new list, as Billie Eilish’s When We All Fall Asleep, Where Do We Go? climbs 8-6 with 32,000 units (down 6%) and Young Thug’s So Much Fun bounces 10-7 with just over 31,000 units (down 3%).

Lil Tjay’s True 2 Myself dips 5-8 in its second week on the list, earning 31,000 units (down 30%).

Gucci Mane collects his seventh top 10 album on the Billboard 200, as Woptober II debuts at No. 9 (nearly 31,000 equivalent album units earned, with 2,000 of that sum in album sales). The rapper earned his first top 10 back in 2009 with The State Vs. Radric Davis, which peaked at No. 10. Woptober II is Gucci Mane’s second top 10 of 2019, following Delusions of Grandeur, which debuted and peaked at No. 7 on the July 6-dated list, starting with 32,000 units (3,000 in album sales).

Rounding out the new top 10 is Chris Brown’s former No. 1 Indigo, which falls 9-10 with 30,000 equivalent album units earned (down 9%).

Source: billboard.com

Plus, Juice WRLD & YoungBoy Never Broke Again’s “Bandit” hits the top 10.

Lizzo scores a historic seventh week atop the Billboard Hot 100 with “Truth Hurts.” The song ties Iggy Azalea’s “Fancy,” featuring Charli XCX, for the longest rule ever for a rap song by a female artist.

“Truth,” released on Nice Life/Atlantic Records, first topped the Hot 100 dated Sept. 7 and spent its first six weeks at No. 1 consecutively before dropping to No. 2 a week ago when Travis Scott’s “Highest in the Room” blasted in at the summit.

Plus, Juice WRLD and YoungBoy Never Broke Again‘s “Bandit” breaks into the Hot 100’s top 10, rising from No. 11 to No. 10 in its second week on the chart, marking the former’s second top 10 on the tally and the latter’s first.

Let’s run down the top 10 of the Hot 100 (dated Oct. 26), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 22).

As “Truth” ties for Hot 100 history, here’s an updated look at all the rap songs by women that have led the chart, listed in order by longest runs at No. 1:

7 weeks, Lizzo, “Truth Hurts,” 2019
7 weeks, Iggy Azalea, “Fancy,” feat. Charli XCX, 2014
3 weeks, Cardi B, “Bodak Yellow (Money Moves),” 2017
2 weeks, Lauryn Hill, “Doo Wop (That Thing),” 1998
1 week, Cardi B, “I Like It,” with Bad Bunny & J Balvin, 2018
1 week, Shawnna, “Stand Up” (Ludacris feat. Shawnna), 2003

“Truth” tops the Radio Songs chart for a fifth week with 115.3 million audience impressions, down 4%, in the week ending Oct. 20, according to Nielsen Music; rebounds 3-2 on Digital Song Sales (20,000 sold, down 29%, in the week ending Oct. 17); and holds at No. 12 on Streaming Songs (23.4 million U.S. streams, down 9%, in the week ending Oct. 17).

“Truth” additionally tallies an eighth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100).

Meanwhile, follow-up single “Good as Hell” rises 24-20 on the Hot 100, winning top Airplay Gainer honors, as it bounds 28-16 on Radio Songs (43.1 million, up 35%).

Shawn Mendes and Camila Cabello’s “Señorita” rebounds 3-2 on the Hot 100, after commanding the Aug. 31-dated chart, and Lewis Capaldi’s “Someone You Loved” returns to its No. 3 high from No. 5. As previously reported, Capaldi’s ballad also takes over atop the Pop Songs radio airplay chart.

Elsewhere in the Hot 100’s top five, two other tracks revisit their highpoints: Post Malone’s “Circles” (6-4) and Chris Brown’s “No Guidance,” featuring Drake (7-5), as the latter leads Hot R&B Songs for an eighth week.

Scott’s “Highest in the Room” slides to No. 6 on the Hot 100 after soaring in at No. 1, marking the steepest drop from the top since two other leaders each tumbled 1-6 in March: Jonas Brothers’ “Sucker” (also in its second week; March 23) and Lady Gaga and Bradley Cooper’s ‘”Shallow” (March 16).

Still, “Room” leads Streaming Songs for a second week, with 37.2 million streams, down 37%. It surges by 61% to 11.1 million in radio reach, while plummeting from No. 2 to No. 20 on Digital Song Sales (7,000, down 87%); contributing to its sales drop-off, the song was available in its first week-only in a variety of physical formats (CD, cassette and vinyl; consumers also received a digital version when ordering physical copies).

Lil Tecca’s “Ran$om” rises 8-7 on the Hot 100, after reaching No. 4; Billie Eilish’s “Bad Guy,” which ruled the Aug. 24 chart, lifts 9-8; and Lil Nas X’s “Panini” climbs 10-9, after previously hitting No. 5.

Rounding out the Hot 100’s top 10, Juice WRLD and YoungBoy Never Broke Again’s “Bandit” enters the tier, rising from No. 11 in its second week on the survey, despite dropping by 3% to 37.5 million U.S. streams and 49% to 3,000 sold.

Juice WRLD adds his second Hot 100 top 10, after his breakthrough hit “Lucid Dreams” rose to No. 2 in October 2018. YoungBoy Never Broke Again makes his first trip to the top 10, in the same week that his new LP AI YoungBoy 2 arrives as his first No. 1 album on the Billboard 200. (“Bandit” is not on the set and is, as of now, a stand-alone single.)

Just beyond the Hot 100’s top 10, Dan + Shay and Justin Bieber’s “10,000 Hours” falls to No. 11 after debuting at No. 4 a week ago — although it charges onto Radio Songs at No. 28 (30.5 million, up 56%), while commanding Hot Country Songs for a second week.

Plus, Maroon 5’s “Memories” jumps 20-12 on the Hot 100, hitting a new high, as it posts a second week atop Digital Song Sales (21,000, up 3%), while Harry Styles scores the Hot 100’s top debut, as new single “Lights Up” launches at No. 17, powered by its starts on Digital Song Sales (No. 3; 20,000) and Streaming Songs (No. 13; 21.5 million). Ahead of his second solo album, the One Direction star earns his third solo Hot 100 entry and second-highest-charting, after “Sign of the Times” (No. 4, 2017).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Oct. 22), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Lil Tjay and Wale debut in top 10.

Rapper YoungBoy Never Broke Again scores his first No. 1 album on the Billboard 200 chart, as AI YoungBoy 2 debuts atop the list.

The set, which was released on Oct. 11 via Never Broke Again/Atlantic Records, starts with 110,000 equivalent album units earned in the U.S. in the week ending Oct. 17, according to Nielsen Music. Of that sum, just 3,000 were in album sales, while the rest was overwhelmingly powered by streaming activity.

Elsewhere in the top 10, rappers Lil Tjay and Wale also arrive, as the former’s True 2 Myself starts at No. 5, while the latter’s Wow… That’s Crazy launches at No. 7.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 26-dated chart, where AI YoungBoy 2 bows at No. 1, will be posted in full on Billboard‘s websites on Oct. 22.

The new 18-track album starts with 110,000 equivalent album units earned, and of that figure, only 3,000 were from album sales. 1,000 were in TEA units, while 106,000 were in SEA units. The latter figure equates to 144.7 million on-demand audio streams earned for the album’s tracks in its first week.

AI YoungBoy 2 is the 12th chart entry on the Billboard 200 for the Baton Rouge, La. artist, who has visited the top 10 once before, with 2018’s Until Death Call My Name (No. 7, May 12, 2018). In 2018 alone, eight YoungBoy projects bowed on the chart. The new album is the sequel to 2017’s AI YoungBoy, which debuted and peaked at No. 24 (Aug. 26, 2017).

AI YoungBoy 2 is the 20-year-old rapper’s first album after being released from prison in August. (The rapper turned 20 today, Oct. 20.) The set was preceded by the song “Self Control,” which reached the top 30 of the Hot R&B/Hip-Hop Songs chart.

At No. 2, Post Malone’s former No. 1 Hollywood’s Bleeding climbs one rung with 99,000 equivalent album units (though down 8%). Summer Walker’s Over It slips 2-3 in its second week with 78,000 units (down 42%) and DaBaby’s former leader Kirk is steady at No. 4 with 55,000 units (down 26%).

Lil Tjay’s debut album True 2 Myself bows at No. 5 with 45,000 equivalent album units earned (1,000 in album sales). The 17-track project features the top 30-charting Hot R&B/Hip-Hop Songs hit “F.N.” The 18-year-old first made waves on Billboard’s charts thanks to his featured turn on Polo G’s “Pop Out” earlier this year. The track reached No. 7 on Hot R&B/Hip-Hop Songs (June 22).

Taylor Swift’s former No. 1 Lover falls one slot to No. 6 in its eighth week on the chart, with 44,000 equivalent album units earned (down 13%).

Wale’s sixth studio album, Wow… That’s Crazy, launches at No. 7 on the Billboard 200 with 38,000 equivalent album units (5,000 in album sales). Wow marks Wale’s fourth top 10 effort, following The Album About Nothing (No. 1 in 2015), The Gifted (No. 1, 2013) and Ambition (No. 2, 2011).

Rounding out the new top 10 are a trio of former No. 1s: Billie Eilish’s When We Fall Asleep, Where Do We All Go? (7-8 with 34,000 equivalent album units; down 10%), Chris Brown’s Indigo (6-9 with 33,000 units; down 16%) and Young Thug’s So Much Fun (holding at No. 10 with nearly 33,000 units; down 8%).

Source: billboard.com

Scott scores his second leader and first to start at the summit.

Travis Scott blasts in atop the Billboard Hot 100 as “Highest in the Room,” true to its title, launches at No. 1. The rapper earns his second leader and first to debut in the top spot.

Plus, Dan + Shay and Justin Bieber‘s “10,000 Hours” soars onto the Hot 100 at No. 4.

Let’s run down the top 10 of the Hot 100 (dated Oct. 19), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Oct. 15).

“Highest,” released on Cactus Jack/Grand Hustle/Epic Records on Oct. 4 (after it was initially teased in a Kylie Jenner Kybrow cosmetics ad in April), and the 1,090th leader in the Hot 100’s 61-year history, starts at No. 1 the Streaming Songs chart with 59 million U.S. streams in the week ending Oct. 10, according to Nielsen Music.

Available digitally and in a variety of physical (CD, cassette and vinyl) formats in its first week, the track bows at No. 2 on Digital Song Sales with 51,000 sold in the week ending Oct. 10. It ranks below the Radio Songs survey with 6.9 million audience impressions in the week ending Oct. 13.

The song is, as of now, a stand-alone single. “I’m taking my time to come up with the next album,” Scott said on Oct. 3. “I’m always down to drop music and serve some packs to the fans. It’s time for the fans to eat.”

Scott’s second No. 1: Scott adds his second Hot 100 No. 1, after “Sicko Mode” led the Dec. 8, 2018-dated chart. That track debuted at No. 4 and remained in the top 10 continuously before leading at last in its 17th week.

35th No. 1 debut all-time: “Highest” is the 35th single to start atop the Hot 100 and the first since Jonas Brothers’ “Sucker” in March. Epic enjoys its third No. 1 arrival, after DJ Khaled’s “I’m the One,” featuring Bieber, Quavo, Chance the Rapper and Lil Wayne (released on both Def Jam and Epic), in 2017 and Michael Jackson’s “You Are Not Alone,” the first song to debut at No. 1, in 1995.

R&B/Hip-Hop & Rap ruler: “Highest” also debuts atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same multi-metric methodology as the Hot 100). Scott earns his third leader on each list, after “Sicko Mode” (10 weeks at No. 1 on each chart, beginning last November), which dethroned Kodak Black’s “Zeze,” featuring Scott and Offset, after a week at No. 1.

‘Highest’ love: Scott notches the fifth Hot 100 No. 1 with a form of the word “high” in its title, and now songs with “high,” “higher” and “highest” have all taken the top spot. It follows: “Ain’t No Mountain High Enough,” by Diana Ross (three weeks at No. 1, 1970); “The Tide Is High,” by Blondie (one week, 1981); “Higher Love,” by Steve Winwood (one, 1986); and “You’re Makin’ Me High”/”Let It Flow,” by Toni Braxton (one, 1996).

‘Room’ at the top: Meanwhile, the word “room” inhabits the Hot 100’s penthouse for the first time. It bests the prior such highest-charting hit: Brandy’s “Sittin’ Up in My Room,” which rose to No. 2 in 1996.

Lizzo’s “Truth Hurts” drops to No. 2 on the Hot 100 after six weeks at No. 1. Still, it rules Radio Songs for a fourth frame (120.4 million, down 1%). It descends to No. 3 on Digital Song Sales (28,000, down 8%), after five weeks at No. 1, and 6-12 on Streaming Songs (25.8 million, down 7%).

Shawn Mendes and Camila Cabello’s “Señorita” slips 2-3 on the Hot 100, after commanding the Aug. 31-dated chart.

Dan + Shay and Justin Bieber’s “10,000 Hours” roars onto the Hot 100 at No. 4, as it opens atop Digital Song Sales at No. 1 with 53,000 sold in the week ending Oct. 10, following its Oct. 4 premiere. Dan + Shay notch their first No. 1 on the sales chart, while Bieber banks his 10th, tying Drake and Eminem for the most among males. Among all acts, Taylor Swift leads with 18 Digital Song Sales No. 1s, followed by Rihanna (14) and Katy Perry (11).

“Hours” also enters Streaming Songs at No. 3 with 33.3 million U.S. streams, while nearing Radio Songs with 19.6 million in all-format audience. Being promoted to country and pop radio, the track ranks at No. 25 in its second week on the Country Airplay chart, while debuting at No. 26 on Adult Pop Songs and No. 29 on Pop Songs.

Dan + Shay post their highest Hot 100 rank, after the pair reached a previous No. 21 high with “Tequila” in July 2018. Bieber adds his 16th Hot 100 top 10 and first since “I Don’t Care” (with Ed Sheeran), which debuted and peaked at No. 2 in May.

“Hours” concurrently blasts from 40-1 on the multi-metric Hot Country Songs chart, where Dan + Shay add their third No. 1 and Bieber earns his first. Along with five No. 1s on the Hot 100, Bieber also now boasts leaders on six other charts that are based on the same methodology: Hot Country Songs, Hot Dance/Electronic Songs, Hot Latin Songs, Hot R&B/Hip-Hop Songs, Hot Rap Songs and Hot R&B Songs, making him the only act to have topped all seven tallies.

(Dan + Shay are co-managed by Jason Owen and Bieber’s manager, Scooter Braun. Shay and Myers attended the wedding celebration for Bieber and wife Hailey Baldwin on Sept. 30.)

Lewis Capaldi’s “Someone You Loved” dips to No. 5 on the Hot 100 from its No. 3 high; Post Malone’s “Circles” rises 8-6, after reaching No. 4; and Chris Brown’s “No Guidance,” featuring Drake, falls to No. 7 from its No. 5 peak, while leading Hot R&B Songs for a seventh week.

Rounding out the Hot 100’s top 10, Lil Tecca’s “Ran$om” tumbles to No. 8 from its No. 4 peak; Billie Eilish’s “Bad Guy,” which ruled the Aug. 24 Hot 100, drops 6-9; and Lil Nas X’s “Panini” backtracks 8-10 after hitting No. 5.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Oct. 15), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Summer Walker and Brantley Gilbert debut in the top 10.

K-pop supergroup SuperM debuts at No. 1 on the Billboard 200 albums chart, as the act’s first effort, SuperM: The 1st Mini Album, enters atop the tally. The set, which was released via SM/Capitol Records on Oct. 4, launches with 168,000 equivalent album units earned in the U.S. in the week ending Oct. 10, according to Nielsen Music. Of that sum, 164,000 were in album sales.

Elsewhere in the top 10, R&B singer Summer Walker bows at No. 2 with her debut studio album, Over It, and country singer Brantley Gilbert starts at No. 9 with Fire & Brimstone.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 19-dated chart (where SuperM debuts at No. 1) will be posted in full on Billboard‘s websites on Oct. 15.

SuperM’s existence was announced on Aug. 7, and the act comprises seven members from established pop acts that have had some success already on Billboard’s various charts: one from SHINee, and two each from EXO, NCT 127 and WayV. None of those groups have claimed a top 10 effort on the all-genre Billboard 200, though. (The highest charting album from any of the non-SuperM acts is NCT 127’s NCT #127 We Are Superhuman: The 4th Mini Album, which debuted and peaked at No. 11 earlier this year.)

SuperM’s The 1st Mini Album starts with 168,000 units, and of that sum, 164,000 were in album sales. The rest of the album’s first-week comprised less than 1,000 TEA units, and a little over 3,000 SEA units. The latter sum equates to 4.9 million on-demand audio streams during the tracking week for the seven tracks on the album. (The album has seven tracks in total, but only five distinct songs. The additional two tracks are instrumental versions of songs on the album.)

SuperM’s handsome start was encouraged mightily by an array of permutations in which to purchase the album, which was likely very appealing to the group’s fans, since K-pop fans are often passionate about buying collectible physical packages of an album. The 1st Mini Album had more than 60 merchandise/album bundles available to purchase through their official web stores, a concert ticket/album sale redemption offer with their upcoming arena tour and eight different CD variants of the album (seven with a different cover for each member, along with a group edition). The act also staged a week-long pop-up shop in Los Angeles during street week, where fans could buy the CD (as well as oodles of individual merch items).

At No. 2 on the new Billboard 200, Summer Walker’s debut studio effort, Over It, launches with 134,000 equivalent album units earned — the biggest week for an R&B album by a female artist in over three years. The last R&B album by a woman to notch a bigger week was Beyoncé with Lemonade, which tallied 202,000 units in its third week on the list (May 28, 2016; at No. 2) after previously bowing at No. 1.

Over It’s starting sum of 134,000 units was largely powered by streaming activity, as the set garnered 14,000 album sales, 1,000 TEA units and 119,000 SEA units. The latter figure translates to a big 154.7 million on-demand audio streams for the album’s songs — marking the largest streaming week ever for an R&B album by a woman in terms of on-demand audio streams (surpassing the debut week of Beyoncé’s Lemonade, with 115.2 million). It also scores the second-largest streaming week for an R&B album among all acts (trailing only the debut week of The Weeknd’s Starboy, with 175.2 million).

Previous to the debut of Over It, Walker earned four top 25-charting hits on the Hot R&B Songs chart, including the top five hit “Playing Games.”

A quintet of former No. 1s are next on Billboard 200, as Post Malone’s Hollywood’s Bleeding slips 2-3 (108,000 units; down 13%), DaBaby’s Kirk falls 1-4 in its second week (75,000 units; down 49%), Taylor Swift’s Lover is steady at No. 5 (51,000 units; down 11%), Chris Brown’s Indigo bolts 13-6 (39,000 units; up 24% after the album was reissued with bonus tracks) and Billie Eilish’s When We All Fall Asleep, Where Do We Go? is a non-mover at No. 7 (38,000 units; down 4%).

Kevin Gates’ I’m Him falls 4-8 in its second week, tallying just over 36,000 equivalent album units (down 52%).

Brantley Gilbert earns his fourth top 10 effort, as Fire & Brimstone debuts at No. 9 with 36,000 equivalent album units earned. Of that sum, 28,000 were in album sales. He previously visited the top 10 with The Devil Don’t Sleep (No. 2 in 2017), Just As I Am (No. 2, 2014) and Halfway to Heaven (No. 4, 2011).

Rounding out the new top 10 is Young Thug’s So Much Fun, at No. 10. The former No. 1 dips 8-10 in its eighth week on the list, with 35,000 units (down 10%).

Source: billboard.com

Plus: The Beatles’ former No. 1 “Abbey Road” returns to the top three, Kevin Gates and Whiskey Myers debut in top 10.

DaBaby scores his first No. 1 album on the Billboard 200 chart as Kirk opens in the top slot.

The set, which is the hip-hop artist’s second studio effort, starts with 145,000 equivalent album units earned in the U.S. in the week ending Oct. 3, according to Nielsen Music. Of that sum, just 8,000 were in album sales, as the set was powered largely by streaming activity. Kirk was released on Sept. 27 via SouthCoast/Interscope Records.

Elsewhere in the top 10, The Beatles’ former No. 1 Abbey Road returns to the top five after its 50th anniversary reissue, Kevin Gates’ I’m Him debuts and Whiskey Myers lands its first top 10.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 12-dated chart (where Kirk debuts at No. 1) will be posted in full on Billboard‘s websites on Oct. 8.

Kirk, which is DaBaby’s actual last name (real name: Jonathan Kirk), follows his first studio release, Baby on Baby, which peaked at No. 7 on the June 1-dated list. The latter boasts DaBaby’s breakthrough single “Suge,” which marked his first top 10 hit on the all-genre Billboard Hot 100 songs chart (reaching No. 7 on July 6). Through the week ending Oct. 2, Baby on Baby has earned 719,000 equivalent album units, and collected over 1 billion on-demand audio streams for its songs.  

As noted above, Kirk starts with 145,000 equivalent album units, of which 8,000 were in album sales, 2,000 in TEA units and 136,000 in SEA units. The latter sum equates to 181.7 million on-demand audio streams for the set’s 13 songs during its first week — the fifth-largest debut streaming week for an album in 2019.

At No. 2 on the new Billboard 200, Post Malone’s Hollywood’s Bleeding shifts down one slot after spending its first three weeks at No. 1. The album tallied 124,000 equivalent album units in the new tracking week, down 17%.

The Beatles’ former No. 1 album Abbey Road zooms back into the top 10 for the first time since 1970, as the set vaults from No. 71 to No. 3 after the album was reissued on Sept. 27 to commemorate its 50th anniversary. It earned 81,000 equivalent album units in the week ending Oct. 3 (up 803%) with 70,000 of that sum in album sales (up 3,091%).

Abbey Road was released on Sept. 26, 1969, and spent 11 nonconsecutive weeks at No. 1 on the Billboard 200 in late 1969 and early 1970. It first reached the top of the list dated Nov. 1, 1969, and it spent its final week at No. 1 on Jan. 24, 1970.

The album continued to chart consistently through May of 1971, returned for a spell in 1976, and then racked up numerous weeks on the chart between 1981 and 1988. Then, from 1991 through 2009, catalog (older) albums like Abbey Road were generally ineligible to chart on the list, so Abbey Road was absent from the chart during that time. But in late 2009, after the catalog restriction was lifted, Abbey Road returned to the chart and has racked up 200 weeks on the tally since.

With Abbey Road’s rise to No. 3 on the new chart, the album nets its first week in the top 10 since April 25, 1970 (when it ranked at No. 9) and its highest placing since March 14, 1970 (No. 3).

Abbey Road boasts familiar favorite songs like “Come Together,” “Something” (which together topped the Hot 100 chart as a double-sided single), “Octopus’s Garden,” “Here Comes the Sun,” “Carry That Weight” and “The End.”

The album was freshly mixed and reissued on Sept. 27 in a variety of formats, many coming with an array of previously unreleased recordings and demo tracks.

Abbey Road is the latest in a series of 50th anniversary reissues from The Beatles, following the act’s self-titled set (often referred to as The White Album) in 2018 and Sgt. Pepper’s Lonely Hearts Club Band in 2017. The White Album re-entered at No. 6 on the Nov. 24, 2018, chart following its reissue, and Sgt. Pepper’s re-entered the chart at No. 3 on the June 17, 2017-dated list after its re-release.

Back on the new Billboard 200, Kevin Gates collects his fourth top 10 album, as I’m Him bows at No. 4 with 70,000 equivalent album units earned (with 10,000 of that sum in album sales). He previously visited the top 10 with Luca Brasi 3 (No. 4 in 2018), By Any Means 2 (No. 4, 2017) and Islah (No. 2, 2016).

Taylor Swift’s former No. 1 Lover falls one rung to No. 5 with 57,000 equivalent album units (down 13%).

Country-rock band Whiskey Myers captures its first top 10 album on the Billboard 200 as the group’s self-titled effort starts at No. 6 with 42,000 equivalent album units earned (of which 39,000 were in album sales). Sales of the new album were boosted by a concert ticket/album sale redemption offer with the band’s tour in 2019.

The debut of the new album follows the Texas act’s first big national attention back in 2018, when it was seen performing the song “Stone” in an episode of Paramount Network’s Yellowstone, starring Kevin Costner. During the release week of the new album, Whiskey Myers landed its first live performance on national television, performing “Rolling Stone” on NBC’s Today on Oct. 1.

Whiskey Myers also scored its first chart hit on a Billboard airplay chart recently, as the new album’s “Gasoline” premiered at No. 37 on the Mainstream Rock Songs chart dated Oct. 5.

The band previously visited the chart with its last three albums: Mud (No. 80 in 2016), Early Morning Shakes (No. 54, 2014) and Firewater (No. 198, 2011).

On the new Billboard 200, Billie Eilish’s former No. 1 When We All Fall Asleep, Where Do We Go? climbs 8-7 with 39,000 equivalent album units (up 20%). The set gains in the wake of Eilish’s performances on NBC’s Saturday Night Live on Sept. 29.

Rounding out the rest of the new top 10: Young Thug’s former leader So Much Fun dips 5-8 with nearly 39,000 equivalent album units earned (down 13%), Lizzo’s Cuz I Love You is steady at No. 9 with 37,000 units (though up 13%) and Lil Tecca’s We Love You Tecca falls 6-10 with 35,000 units (down 10%).

Source: billboard.com

Post Malone’s Hollywood’s Bleeding nets a third straight week at No. 1 on the Billboard 200 albums chart, as it earned 149,000 equivalent album units in the U.S. in the week ending Sept. 26 (down 25%), according to Nielsen Music. The album is the first to spend its first three weeks at No. 1 in nearly a year.

Also in the top 10: Zac Brown Band’s The Owl and Blink-182’s Nine start at Nos. 2 and 3, respectively.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 5-dated chart, where Hollywood’s Bleeding is steady at No. 1 for a third week, will be posted in full on Billboard‘s websites on Oct. 1.

As Hollywood’s Bleeding has spent its first three chart weeks at No. 1, it’s the first album to do so since Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack also logged its first three frames atop the tally on the charts dated Oct. 20 – Nov. 3, 2018. (It later earned a fourth week at No. 1, on the March 9, 2019 chart.)

Between Star and Bleeding, two albums clocked three frames at No. 1 — just not consecutively from their debut weeks. A Boogie Wit da Hoodie’s Hoodie SZN achieved this (Jan. 19-26 and Feb. 16, 2019), as did Billie Eilish’s When We All Fall Asleep, Where Do We Go?, with three separate one-week visits to No. 1 (April 13, May 4 and June 8).

Hollywood’s Bleeding matches Post Malone’s three-week run at No. 1 with his other leader, beerbongs & bentleys. It, too, spent its first three weeks in the pole position (May 12-26, 2018).

Further, Hollywood’s Bleeding is just the third album in 2019 to tally three weeks of at least 100,000 equivalent album units earned. It follows Taylor Swift’s Lover and Ariana Grande’s Thank U, Next. All three did so in their first three weeks of release. (All three albums were released via Republic Records.)

At No. 2 on the new Billboard 200, Zac Brown Band’s The Owl debuts, scoring the group its sixth top 10 effort. The Owl flies in with 106,000 equivalent album units earned (with 99,000 of that sum in album sales). The act previously visited the top 10 with Welcome Home (No. 2 in 2017), Jekyll + Hyde (No. 1, 2015), Uncaged (No. 1, 2012), You Get What You Give (No. 1, 2010) and The Foundation (No. 9, 2010).

Blink-182’s new album Nine bows at No. 3 on the Billboard 200, granting the rock trio its eighth top 10 effort. Nine bows with 94,000 equivalent album units earned (with 77,000 of that sum in album sales). Nine was released via Viking Wizard Eyes/Columbia Records, and marks the act’s first album for Columbia.

Blink-182 previously logged top 10s with California (No. 1 in 2016), Neighborhoods (No. 2, 2011), Greatest Hits (No. 6, 2005), Blink-182 (No. 3, 2003), Take Off Your Pants and Jacket (No. 1, 2001), The Mark, Tom, and Travis Show (The Enema Strikes Back!) (No. 8, 2000) and Enema of the State (No. 9, 1999).

The debuts of both The Owl and Nine were boosted by sales of the albums registered from concert ticket/album sale redemption offers with each act’s most recent tour.

A pair of former No. 1s are up next on the new Billboard 200, as Swift’s Lover dips 3-4 with 65,000 equivalent album units (down 17%) and Young Thug’s So Much Fun falls 4-5 with 45,000 units (down 8%).

Lil Tecca’s We Love You Tecca descends 5-6 with 39,000 equivalent album units (down 10%), Chris Brown’s former No. 1 Indigo climbs 9-7 with 33,000 units (though down less than 1%) and Eilish’s previous leader When We All Fall Asleep, Where Do We Go? is down 7-8 with just under 33,000 units (down 7%).

Rounding out the new top 10: Lizzo’s Cuz I Love You falls 6-9 (nearly 33,000 equivalent album units; down 9%) and Lil Nas X’s 7 is steady at No. 10 (27,000 units; down 10%).

Source: billboard.com

Lizzo rewrites the record for the longest-leading rap No. 1 by a female unaccompanied by any other artist.

Lizzo lands a fourth week atop the Billboard Hot 100 with “Truth Hurts,” making history in the process.

With its latest frame on top, the song boasts the longest reign for a rap No. 1 by a female artist unaccompanied by another act in the chart’s history, surpassing Cardi B’s three-week reign with “Bodak Yellow (Money Moves)” in October 2017. (One other rap No. 1 by a female artist and no accompanying acts has led the list: Lauryn Hill’s “Doo Wop [That Thing],” for two weeks in 1998.)

Among all rap No. 1s by female artists, “Truth” claims the longest command in over five years, since Iggy Azalea spent seven weeks at No. 1 (a record for the category) with “Fancy,” featuring Charli XCX, in 2014.

“Truth” also takes over atop the Radio Songs chart, marking the first rap song to top the tally in over a year.

Plus, Lil Nas X notches his second Hot 100 top 10, as “Panini” bounds 14-5 after the Sept. 13 arrival of its remix with DaBaby (which followed the Sept. 5 premiere of its official video). Lil Nas X logged a record 19 weeks at No. 1 with his breakthrough smash “Old Town Road,” featuring Billy Ray Cyrus, in April through August.

Let’s run down the top 10 of the Hot 100 (dated Sept. 28), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Sept. 24).

“Truth,” released on Nice Life/Atlantic Records, rises 2-1 on Radio Songs, up 4% to 116.4 million audience impressions in the week ending Sept. 22, according to Nielsen Music. Lizzo earns not only her first Radio Songs No. 1, but the chart’s first rap leader in over year, after a 60-week drought that followed Cardi B, Bad Bunny and J Balvin’s rule with “I Like It” in July 2018. (Before “I Like It,” three years had passed since a rap title led Radio Songs, dating to Wiz Khalifa’s “See You Again,” featuring Charlie Puth, in 2015. The last rap No. 1 before that? Azalea’s “Fancy,” in 2014.)

“Truth” also dons the crown on the mainstream top 40-based Pop Songs radio airplay chart (2-1), while reaching the Mainstream R&B/Hip-Hop airplay chart’s top 10 (11-6). It concurrently tops Dance/Mix Show Airplay for a fourth frame, ranks at No. 5 on Rhythmic Songs, after three weeks at No. 1, lifts 14-11 on Adult Pop Songs and enters Adult Contemporary at No. 30.

The track totals a fourth week atop the Digital Song Sales chart, although down 12% to 27,000 sold, and rebounds 14-8 on Streaming Songs, up 1% to 29.4 million U.S. streams, in the week ending Sept. 19.

“Truth” additionally collects a fifth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same methodology as the Hot 100).

Shawn Mendes and Camila Cabello’s “Señorita” holds at No. 2 on the Hot 100, after leading the Aug. 31-dated chart, and Billie Eilish’s “Bad Guy,” which topped the Aug. 24 tally, rebounds 5-3.

Lewis Capaldi‘s first Hot 100 hit, “Someone You Loved,” ascends to the top five with a 9-4 surge, a week after reaching the top 10. The ballad bumps 4-3 on Digital Song Sales (21,000, up 20%, good for top Sales Gainer honors on the Hot 100), reaches the Radio Songs top five (6-5; 86.9 million, up 10%) and jumps 23-13 on Streaming Songs (24.2 million, up 9%). It also becomes Capaldi’s first No. 1 on the Adult Pop Songs airplay chart (2-1).

Lil Nas X leaps to his second Hot 100 top 10, after “Old Town Road,” as “Panini” vaults 14-5. The song debuted at No. 16 on the July 16-dated chart and spent the next 10 weeks between Nos. 22 and 40 before roaring to No. 14 (from No. 29) a week ago, fueled by the Sept. 5 premiere of its official video.

Following the Sept. 13 arrival of its DaBaby remix, “Panini” soars 9-2 on Streaming Songs (43.7 million, up 22%, sparking its top Streaming Gainer award win on the Hot 100) and 33-17 on Digital Song Sales (9,000, up 56%). It also enters Radio Songs, up 30% to 22.2 million in all-format audience in the week ending Sept. 22.

Notably, “Panini” interpolates the melody of Nirvana’s “In Bloom,” a No. 5 hit on Mainstream Rock Songs in 1993 written solely by Kurt Cobain, the band’s late frontman. Cobain adds his second top 10 Hot 100 writing credit this decade via a reimagination: Jay-Z’s “Holy Grail,” featuring Justin Timberlake, hit No. 4 in 2013; it reworks Nirvana’s breakthrough classic “Smells Like Teen Spirit,” which reached No. 6 in 1992. (“In Bloom” has never appeared on the Hot 100.)

Lil Tecca’s “Ran$om” holds at No. 6 on the Hot 100, after reaching a No. 4 high, and spends a fifth week atop Streaming Songs (45 million, down 4%), while Chris Brown’s “No Guidance,” featuring Drake, is likewise steady at No. 7 on the Hot 100, after climbing to No. 6, and leads Hot R&B Songs for a fourth week.

Post Malone’s “Goodbyes” drops 3-8 on the Hot 100 and his “Circles” falls 4-9, each descending from peak positions. Last week, the songs surged as parent album Hollywood’s Bleeding debuted at No. 1 on the Billboard 200. Still, “Circles” scores top Airplay Gainer kudos on the Hot 100, increasing by 28% to 36.1 million in radio reach.

Rounding out the Hot 100’s top 10, Lil Nas X’s “Old Town Road” returns to the region (11-10).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Sept. 24), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com