Swift ties her second-longest Hot 100 command.

Taylor Swift‘s “Anti-Hero” notches a fourth week at No. 1 on the Billboard Hot 100 songs chart, encompassing its entire run on the ranking so far.

Meanwhile, David Guetta and Bebe Rexha‘s viral collab-turned-multi-metric hit “I’m Good (Blue)” jumps to No. 7 on the Hot 100, becoming Guetta’s seventh top 10 and Rexha’s fourth.

Plus, Sam Smith and Kim Petras’ “Unholy,” at No. 3 on the Hot 100, takes over as the most-heard song on U.S. airwaves, as it tops the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 26, 2022) will update on Billboard.com tomorrow (Nov. 22). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 11-17 tracking week, “Anti-Hero,” released on Republic Records, tallied 58.6 million radio airplay audience impressions (up 14%), 27.3 million streams (down 12%) and 29,000 sold (down 91%), according to Luminate.

The single spends a second week at No. 1 on the Digital Song Sales chart; rebounds 11-2 after two weeks atop Streaming Songs; and jumps 9-4 for a new best on Radio Songs.

Notably, in the prior week, “Anti-Hero” vaulted by 1,793% to 327,000 sold, boosted by seven new remixes released Nov. 7-10. In the Nov. 11-17 tracking week, one remix of the song arrived (Nov. 17), with ILLENIUM.

Swift ties her second-longest Hot 100 rule, as “Shake It Off” led for four weeks in 2014. Among her nine No. 1s, the two hits are bested only by the seven-week reign of “Blank Space” in 2014-15.

Three weeks ago, “Anti-Hero” soared in at the Hot 100’s summit, as Swift made history as the first artist to monopolize the survey’s entire top 10 in a single week. Meanwhile, of the 64 singles that have debuted atop the Hot 100, “Anti-Hero” is just the 14th to have spent at least its first four weeks on the chart at No. 1, and the first since BTS’ “Butter” led in its first seven weeks in June-July 2021 (before upping its total to 10 nonconsecutive weeks in the top spot).

A week after Drake flooded the Hot 100’s top 10 with eight songs, all debuts, including seven with 21 Savage, the pair places four tracks in the region: “Rich Flex” logs a second week at No. 2, followed by “Major Distribution” (3-6); “Spin Bout U” (5-9); and “On BS” (4-10).

“Rich Flex” adds a second week at No. 1 on Streaming Songs (36.1 million streams, down 39%). It also posts a second week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Sam Smith and Kim Petras’ “Unholy” rebounds 10-3 on the Hot 100 (as longer-established hits ascend amid the waning of Swift and Drake’s recent top 10 onslaughts), after it topped the Oct. 29-dated chart. It also surges 5-1 on Radio Songs (66.3 million, up 17%, good for the Hot 100’s top Airplay Gainer award for a third consecutive week). Smith notches their third Radio Songs leader, following “Dancing With a Stranger,” with Normani (two weeks, 2019), and “Stay With Me” (six, 2014). Petras reigns in her first appearance on the airplay tally.

“Unholy” additionally hits No. 1 on the mainstream top 40-based Pop Airplay chart, becoming Smith’s second leader, after “Stay With Me” (two weeks, 2014), and Petras’ first.

Steve Lacy’s “Bad Habit” jumps 13-4 on the Hot 100, following three weeks at No. 1 in October. The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 13th week each and Hot R&B Songs for an 11th frame.

Harry Styles’ “As It Was” climbs 17-5 on the Hot 100, after 15 weeks at No. 1 beginning in April, the fourth-longest reign in the chart’s history.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” bounds 20-7 on the Hot 100, with 52.9 million in airplay audience (up 18%), 10.9 million streams (down 2%) and 6,000 sold (down 4%).

The song interpolates Eiffel 65’s “Blue (Da Ba Dee),” which hit No. 6 on the Hot 100 in 2000. (The original is the latest 2000s top 10 to appear in the region in a new form this year; notably, Jack Harlow’s “First Class,” which led for three weeks in April-May, reimagines Fergie’s 2007 two-week No. 1 “Glamorous,” featuring Ludacris.)

“[David] had played [“I’m Good”] at a festival after we had cut it, and somebody took a YouTube video of it and posted it,” Rexha recently told Billboard‘s Pop Shop Podcast. “Then somebody found that and made a remix and posted it to TikTok. Then this big gamer posted it from TikTok, and then it blew up from her page.

“It’s crazy, because you just never know what people want,” Rexha added. “Everybody was going crazy and being like, ‘We want this song! Why can’t we find it?’ And I was hitting up David [saying], ‘David, people really want this record! We should just put it out!’ At this point, it’s viral on TikTok, and people are asking for it. Let’s just give the people what they want. Let’s not judge it for what it is, and just put it out. It’s just a great, fun record.”

Guetta earns his seventh Hot 100 top 10 and first since “Hey Mama” – featuring Rexha, as well as Nicki Minaj and Afrojack (No. 8, 2015). He also joins the exclusive club of acts that have hit the top 10 in the 2000s, ’10s and now ’20s. Rexha posts her fourth top 10, following “Hey Mama”; “Me, Myself & I,” with G-Eazy (No. 7, 2016); and “Meant To Be,” with Florida Georgia Line (No. 2, 2018).

“I’m Good” concurrently adds a ninth week at No. 1 on the Hot Dance/Electronic Songs chart.

Elsewhere in the Hot 100’s top 10, Rihanna’s “Lift Me Up” leaps 22-8, two weeks after it debuted at No. 2. The ballad is from the soundtrack to Black Panther: Wakanda Forever, which premiered in theaters Nov. 11. Helped by buzz of the film’s record-breaking opening weekend (Nov. 11-13), the song scores the Hot 100’s top Sales Gainer nod (8,000 sold, up 16%), while also up 8% to 41.2 million in airplay audience and 5% to 12.5 million streams.

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

Source: billboard.com

Plus: Louis Tomlinson, Bruce Springsteen and Nas debut in top 10.

Taylor Swift’s Midnights returns to No. 1 on the Billboard 200 albums chart (dated Nov. 26) for a third nonconsecutive week on top, as the set rebounds 2-1 in its fourth week on the list. It earned 204,000 equivalent album units in the U.S. in the week ending Nov. 17 (down 32%), according to Luminate. The album spent its first two weeks atop the list, then stepped aside for one week when Drake and 21 Savage’s Her Loss bowed at No. 1.

Midnights is the first album to earn at least 200,000 units in each of its first four weeks of release since Adele’s 25 saw its first six weeks reach 200,000-plus (Dec. 12, 2015–Jan. 16, 2016).

Also in the new Billboard 200’s top 10: Louis Tomlinson lands his highest charting album with the No. 5 debut of Faith in the Future, Bruce Springsteen achieves his 22nd top 10-charting effort with the No. 8 arrival of Only the Strong Survive, and Nas captures his 16th top 10 with King’s Disease III’s bow at No. 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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 26, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 22). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights’ 204,000 equivalent album units earned, SEA units comprise 140,000 (down 19%, equaling 184.04 million on-demand official streams of the set’s tracks), album sales comprise 60,000 (down 36%) and SEA units comprise 4,000 (down 88%).

After debuting at No. 1, Drake and 21 Savage’s Her Loss falls to No. 2 in its second week with 170,000 equivalent album units earned (down 58%). Two fellow former No. 1s are next on the list, as Bad Bunny’s Un Verano Sin Ti rises 4-3 (56,000; down 3%) and Lil Baby’s It’s Only Me dips 3-4 (52,000; down 15%).

Tomlinson’s second solo album, Faith in the Future, debuts at No. 5 on the Billboard 200, securing the pop artist his highest-charting effort and his best week yet in terms of both equivalent album units earned (43,000) and traditional album sales (37,500). It surpasses his previous high-water mark, logged with the No. 9 debut and peak of his first album Walls (Feb. 15, 2020, chart; 39,000 units — of which album sales comprised 35,000).

As album sales comprise 37,500 of Faith’s total first-week units, the remainder consists of SEA units (5,500; equaling 7.27 million on-demand official streams of the set’s tracks) and a negligible amount of TEA units.

Faith’s first-week sales figure was bolstered by its availability across multiple collectible physical variants of the album. The set was preceded by the single “Bigger Than Me,” which became Tomlinson’s fourth solo hit on the Pop Airplay chart (outside his tenure in One Direction).

Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover on the Billboard 200 at No. 6 (41,000 equivalent album units earned; down 1%) while The Weeknd’s The Highlights is also steady at No. 7 (40,000; up 2%).

Springsteen achieves his 22 nd top 10-charting album on the Billboard 200 as his new covers set, Only the Strong Survive, debuts at No. 8 with 39,500 equivalent album units earned. Of that sum, traditional album sales comprise 36,500, SEA units comprise 2,000 (equaling 2.87 million on-demand streams of the set’s tracks) and TEA units comprise 1,000. The soul and R&B covers collection includes Springsteen’s takes on such oldies as The Commodores’ “Night Shift,” Jimmy Ruffin’s “What Becomes of the Brokenhearted” and Diana Ross & The Supremes’ “Someday We’ll Be Together.”

With a 22nd top 10 album on the Billboard 200, Springsteen now solely has the eighth-most top 10s overall and the sixth-most top 10s among solo artists.

Here’s an updated look at all the acts with at least 20 top 10 albums on the Billboard 200 from March 24, 1956, when the list began publishing on a regular, weekly basis, through the latest chart, dated Nov. 26, 2022.

Most Billboard 200 Top 10s:
37, The Rolling Stones
34, Barbra Streisand
32, The Beatles
32, Frank Sinatra
27, Elvis Presley
23, Bob Dylan
23, Madonna
22, Bruce Springsteen
21, Elton John
21, Paul McCartney/Wings
21, George Strait
20, Prince

(Notably, the Kidz Bop Kids music brand has collected 24 top 10s, in 2005-16, with its series of kid-friendly covers of hit singles. The franchise’s early albums were performed by mostly anonymous studio singers, although later releases focused on branding named talent.)

Harry Styles’ former No. 1 Harry’s House drops 8-9 on the new Billboard 200 with 30,000 equivalent album units (down less than 1%).

Nas rounds out the top 10 as his latest release King’s Disease III starts at No. 10 with 29,000 equivalent album units earned. Of that sum, SEA units comprise 20,000 (equaling 26.47 million on-demand official streams of the set’s tracks), album sales comprise 8,500 and TEA units comprise 500.

King’s Disease III is the third in the King’s Disease series — the first two albums debuted and peaked at Nos. 5 and 3 in 2020 and 2021, respectively.

King’s Disease III marks Nas’ 16th top 10 on the Billboard 200, tying him with Jay-Z for the most top 10s among rap artists. Nas’ first top 10 came with It Was Written in 1996 (No. 1 for four weeks). Jay-Z logged his first top 10 in 1997 with In My Lifetime, Vol. 1 (No. 3) and last notched a new top 10 set with 4:44 in 2017 (No. 1 for two weeks).

Source: billboard.com

Of the rapper’s new top 10s, 7 are with 21 Savage, with all 8 from the pair’s new Billboard 200-topping album Her Loss.

Taylor Swift‘s “Anti-Hero” adds a third week at No. 1 on the Billboard Hot 100 songs chart, boosted by seven new remixes released between Nov. 7 and Nov. 10. Two weeks ago, the song soared in at the Hot 100’s summit, as Swift made history as the first artist to hold the survey’s entire top 10 in a single frame.

Meanwhile, Drake blasts in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, as the pair’s collaborative LP Her Loss launches at No. 1 on the Billboard 200 albums chart.

With Drake having claimed nine of the Hot 100’s top 10 spots on the chart for a week in September 2021 (concurrent with the chart start of his album Certified Lover Boy), he is now the only artist to have logged at least eight songs in the top 10 twice.

Plus, Drake extends his record total to 67 career Hot 100 top 10s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 19, 2022) will update on Billboard.com tomorrow (Nov. 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Nov. 4-10 tracking week, “Anti-Hero,” released on Republic Records, tallied 51.3 million radio airplay audience impressions (up 37%), 31.1 million streams (down 13%) and 327,000 sold (up 1,793%), according to Luminate.

The single surges 4-1 on the Digital Song Sales chart; falls to No. 9 after two weeks atop Streaming Songs; and jumps 14-9 on Radio Songs (which, as previously reported, is now based on Mediabase-monitored airplay data).

Swift scores her record-extending 25th Digital Song Sales No. 1 with “Anti-Hero,” which also takes top Sales Gainer honors on the Hot 100, sparked by seven remixes made available for purchase during the tracking week. Joining the song’s previously available original and instrumental versions, its Bleachers remix (explicit and clean) arrived Nov. 7 (first in Swift’s webstore, followed by its wide release at 12 a.m. ET Nov. 8). Its Roosevelt remix was released Nov. 9 (in Swift’s webstore, followed by its wide release Nov. 10), while its Jayda G remix, Kungs remix (including its extended version) and an acoustic version were all released Nov. 10. All versions of the song were discounted to 69 cents between 2:30 p.m. ET and midnight Nov. 10 in Swift’s webstore, and between 4 p.m. ET and midnight Nov. 10 at all other retailers; all were available for wide release, except for the Kungs extended remix and acoustic version, between 10 p.m. ET and midnight Nov. 10.

The song’s sum of 327,000 paid downloads makes for the biggest sales week for a song in over five years, since Swift’s own “Look What You Made Me Do” bounded in with 353,000 (Sept. 16, 2017). “Anti-Hero,” which debuted with 13,000 sold and moved 17,000 in its second frame, logs the largest third-week sales total for a track since Adele’s “Hello” (480,000, Nov. 28, 2015, after it sold a weekly record 1.1 million downloads and 635,000 in its second week).

“Anti-Hero” concurrently becomes Swift’s 16th Radio Songs top 10, and first since “ME!,” featuring Brendon Urie (No. 7, May-June 2019).

Drake roars in with eight debuts in the Hot 100’s top 10, including seven with 21 Savage, with all from their new collaborative album Her Loss.

Here’s a recap of the eight tracks new in the Hot 100’s top 10 – all by Drake and 21 Savage unless otherwise noted:

• No. 2, “Rich Flex”
• No. 3, “Major Distribution”
• No. 4, “On BS”
• No. 5, “Spin Bout U”
• No. 6, “Pussy & Millions” (feat. Travis Scott)
• No. 7, “Privileged Rappers”
• No. 8, “Circo Loco”
• No. 9, “BackOutsideBoyz” (Drake)

The eight songs above line up in the same order, infusing Nos. 1-8, respectively, on Streaming Songs, led by “Rich Flex” with 58.9 million streams. The total is the second-highest for a song this year, just below the 59.7 million that Swift’s “Anti-Hero” drew in its first week (Nov. 5).

“Rich Flex” begins as Drake’s record-padding 15th Streaming Songs No. 1 and 21 Savage’s third.

“Rich Flex” was also the top-selling Her Loss track in its first week (2,600), while “Circo Loco” drew the most all-format radio audience of any song on the set in that span (5 million), followed by “Rich Flex” (3.1 million).

In one swoop, Drake ups his career count from 59 to 67 Hot 100 top 10s, extending his record total (dating to his first top 10, “Best I Ever Had,” in 2009) over the chart’s 64-year history.

Notably, of his 67 Hot 100 top 10s, Drake has notched a likewise-record 49 as a lead artist. (Swift has been credited as the lead artist on all 40 of her top 10s, while Madonna ranks third with 37 top 10s as a lead act, among her 38 total.)

Most Billboard Hot 100 Top 10s:

• 67, Drake
• 40, Taylor Swift
• 38, Madonna
• 34, The Beatles
• 32, Rihanna
• 30, Michael Jackson
• 29, Elton John
• 28, Mariah Carey
• 28, Stevie Wonder
• 27, Janet Jackson
• 26, Justin Bieber
• 25, Lil Wayne
• 25, Elvis Presley (with the start of Presley’s career having predated the Hot 100’s inception)

Meanwhile, Drake becomes the only artist to have logged at least eight songs in the Hot 100’s top 10 twice, plus as many as seven concurrent top 10s in three distinct weeks. Prior to this week’s haul of eight top 10s courtesy of Her Loss, he posted nine alongside the chart arrival of his album Certified Lover Boy in 2021 and seven as Scorpion made its chart entrance in 2018.

Also thanks to Her Loss, 21 Savage boasts the fourth-most simultaneous Hot 100 top 10s.

Most Simultaneous Hot 100 Top 10s:

• 10, Taylor Swift, Nov. 5, 2022
• 9, Drake, Sept. 18, 2021
• 8, Drake, Nov. 19, 2022
• 7, 21 Savage, Nov. 19, 2022
• 7, Drake, July 14, 2018
• 5, Juice WRLD, July 25, 2020
• 5, The Beatles, April 11, 1964
• 5, The Beatles, April 4, 1964

In the rundown above, the Hot 100 has sported six instances of acts having amassed five or more simultaneous top 10s since July 2018, after only The Beatles had achieved the feat in two distinct weeks in 1964. As streaming has ascended in prominence in recent years, the select acts above have run up such lofty totals in weeks that high-profile albums of theirs have arrived. The model contrasts with prior decades, when acts generally promoted one single at a time in the physical-only marketplace and on radio. That shift in consumption also helps explain certain acts having swelled their career top 10 totals to historic highs over relatively short spans in recent years.

21 Savage more than doubles his career Hot 100 top 10 total, from six to 13. He logged his most recent top 10 before this week as featured on Drake’s “Jimmy Cooks,” which became his second No. 1 and Drake’s 11th, and latest, leader upon its debut in July.

Thanks to his featured turn on the chart’s sixth-biggest song, Travis Scott earns his 11th Hot 100 top 10.

Meanwhile, “Rich Flex” premieres at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100. Drake dominates the rankings with a record-extending 26th and 27th track, respectively. 21 Savage leads each list with a fourth title.

Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” drops from No. 3 to No. 10, three weeks after it ascended to No. 1. The collaboration claims the chart’s top Airplay Gainer award for a second week, up 39% to 56.7 million impressions, as it flies 12-5 on Radio Songs. Smith notches their sixth Radio Songs top 10 and first since “Dancing With a Stranger,” with Normani, became their second No. 1 in 2019. Petras reaches the Radio Songs top 10 in her first trip to the tally.

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

Source: billboard.com

Drake now has a dozen No. 1 albums, while 21 Savage scores his third leader.

Drake and 21 Savage’s collaborative album, Her Loss, debuts at No. 1 on the Billboard 200 chart (dated Nov. 19) with the year’s biggest week for an R&B/hip-hop set and the fourth-largest streaming week ever for any album.

Her Loss launches with 404,000 equivalent album units earned in the U.S. in the week ending Nov. 10, according to Luminate. Streaming activity drove the bulk of that sum, to the tune of 513.56 million on-demand official streams of its 16 tracks.

Her Loss is the 12th No. 1 for Drake and the third leader for 21 Savage. Drake now solely has the third-most No. 1 albums on the Billboard 200 chart, since the list began publishing on a regular weekly basis in March of 1956. Ahead of him are only The Beatles, with a record 19 No. 1s and Jay-Z with 14. Drake was previously tied with Bruce Springsteen, Barbra Streisand and Taylor Swift, each with 11 No. 1s on the Billboard 200.

Her Loss was announced on Oct. 22 and then-slated for an Oct. 28 release. On Oct. 26, its release was postponed to Nov. 4. The set was released via streaming services and as an album download via digital retailers. A physical release for the set on CD or any other format has not been announced.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 19, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 15). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Her Loss’ 404,000 equivalent album units earned, SEA units comprise 391,000 (equaling 513.56 million on-demand official streams of the set’s tracks), album sales comprise 12,000 and SEA units comprise 1,000.

Biggest Week for an R&B/Hip-Hop Album in 2022: Her Loss tallies not just the largest week for any R&B/hip-hop set in 2022, but the biggest since Drake’s own Certified Lover Boy debuted at No. 1 more than a year ago, with 613,000 units on the Sept. 18, 2021-dated chart. Among all albums in 2022, Her Loss nets the third-biggest week by units earned, trailing only the No. 1 debuts of Taylor Swift’s Midnights (1.578 million; Nov. 5 chart) and Harry Styles’ Harry’s House (521,000; June 4).

Fourth-Largest Streaming Week Ever: Her Loss captures the fourth-largest streaming week ever for an album, by total on-demand official streams of its combined tracks (513.56 million). Drake owns three of the top four biggest streaming weeks, and half of the top 10 largest weeks.

The Nos. 1 and 2 biggest streaming weeks were logged by the debut frames of Drake’s Scorpion (745.92 million in 2018) and Certified Lover Boy (743.67 million, 2021), respectively. Swift’s Midnights debut is No. 3 (549.26 million, 2022) and Lil Wayne’s opening week with Tha Carter V is No. 5 (433.02 million, 2018). Nos. 6-10 are the debuts of Post Malone’s beerbongs & bentleys (431.34 million, 2018), Juice WRLD’s Legends Never Die (422.63 million, 2020) and Lil Uzi Vert’s Eternal Atake (400.42 million, 2020), the second week of Drake’s Scorpion (390.98 million, 2018) and the opening frame of Drake’s More Life (384.84 million, 2017).

A Dozen No. 1 Albums: Drake’s even dozen No. 1 albums on the Billboard 200 continues to pull him closer to Jay-Z, who has the record for the most No. 1s among solo acts, with 14. The Beatles have the most No. 1s among all artists, as the Fab Four has 19 leaders. Below is a list of every act with at least 10 No. 1 albums on the Billboard 200, since the list began publishing on a regular weekly basis in March of 1956.

Most Billboard 200 No. 1s:
19, The Beatles
14, Jay-Z
12, Drake
11, Bruce Springsteen
11, Barbra Streisand
11, Taylor Swift
10, Eminem
10, Elvis Presley
10, Ye (formerly known as Kanye West)

Taylor Swift’s Midnights falls to No. 2 on the latest Billboard 200 after spending its first two weeks atop the chart. The set earned 299,000 equivalent album units in the latest tracking week (down 13%). Lil Baby’s former No. 1 It’s Only Me dips 2-3 with 62,000 units (down 24%) and Bad Bunny’s chart-topping Un Verano Sin Ti slips out of the top three for the first time in its 27 chart weeks, as it shifts 3-4 with 58,000 units (down 8%).

Joji achieves his third top 10-charting effort on the Billboard 200 — all of which have debuted in the top five — as Smithereens opens at No. 5 with 57,000 equivalent album units earned. Of that sum, SEA units comprise 39,500 (equaling 52.95 million on-demand official streams of the set’s nine tracks), album sales comprise 17,500 and TEA units comprise a negligible sum. The set was led by the hit single “Glimpse of Us,” which became the artist’s first top 10 (and top 40) hit on the Billboard Hot 100, peaking at No. 8 on the July 2-dated list.

Rounding out the new Billboard 200’s top 10 are Morgan Wallen’s chart-topping Dangerous: The Double Album (falling 5-6 with 41,000 equivalent album units earned; though up 1%), The Weeknd’s The Highlights (6-7 with 39,000; down 4%), Styles’ Harry’s House (9-8 with 30,000; down 4%), Zach Bryan’s American Heartbreak (11-9 with 28,000; up 11%) and Steve Lacy’s Gemini Rights (17-10 with 27,000; up 32% following its release on vinyl on Nov. 4).

Source: billboard.com

Also in the top 10: Reissues spur returns for The Beatles’ Revolver and Baby Keem’s The Melodic Blue, while Kodak Black’s latest debuts.

Taylor Swift’s Midnights easily tops the Billboard 200 chart (dated Nov. 12) for a second week, following its blockbuster debut at No. 1 a week earlier. The set earned 342,000 equivalent album units in the U.S. in the week ending Nov. 3 (down 78%). A week ago, the album barged in at No. 1 with 1.578 million units, the largest weekly total since Adele’s 25 debuted with 3.482 million units (Dec. 12, 2015 chart).

Midnights has the largest second-week total for any album since Adele’s 25 tallied 1.162 million units in is second frame (Dec. 19, 2015, chart). Plus, Midnights’ second-week sum is the third-largest overall week of the year for any album. In 2022, the three largest weeks are Midnights’ debut (1.578 million), the debut of Harry Styles’ Harry’s House (521,000) and Midnights’ second week (342,000). One more note about the size of Midnights’ second-week – it’s so big, it’s larger than the total units earned by the Nos. 2-7 albums on the latest chart combined. A week ago, Midnights’ first week was larger than the Nos. 2-88 albums’ totals combined.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 12, 2022-dated chart will be posted in full on Billboard‘s website on Nov. 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights‘ 342,000 equivalent album units earned, SEA units comprise 224,000 (down 46%, equaling 294 million on-demand official streams of the set’s tracks), album sales comprise 114,000 (down 90%) and TEA units comprise 4,000 (down 79%).

Lil Baby’s former No. 1 It’s Only Me is a non-mover at No. 2 on the Billboard 200 (81,000 equivalent album units; down 26%), while Bad Bunny’s chart-topping Un Verano Sin Ti is stationary at No. 3 (62,000; down 7%).

The Beatles’ former No. 1 Billboard 200 album Revolver re-enters the chart at No. 4 following its deluxe special edition reissue on Oct. 28. The set earned 54,000 equivalent album units in the week ending Nov. 3 (up 1,963%). Of that sum, album sales comprise 46,000 (up 6,346%), SEA units comprise 7,000 (up 280%; equaling 8.78 million on-demand streams of the set’s tracks) and TEA units comprise 1,000 (up 1,237%).

Revolver was first released in 1966 and spent six weeks atop the chart (Sept. 10 – Oct. 15, 1966-dated charts). For its special edition, the album was reintroduced in a variety of expanded formats and editions, including many with previously unreleased tracks. All versions of the album, old and new, are combined for tracking and charting purposes.

The rerelease of Revolver is part of the ongoing series of expanded reissues of select studio albums by The Beatles. It follows reissues of Let It Be in 2021 (first released in 1970), Abbey Road in 2019 (first released in 1969), The Beatles in 2018 (often referred to as the White Album, first released in 1968) and Sgt. Pepper’s Lonely Hearts Club Band in 2017 (first released in 1967). All five albums originally hit No. 1 shortly after their release, and returned to the top 10 after their expanded reissues.

Morgan Wallen’s chart-topping Dangerous: The Double Album falls 4-5 on the Billboard 200 with 41,000 equivalent album units earned (down 6%), and The Weeknd’s The Highlights dips 5-6 with nearly 41,000 (up 3%).

Baby Keem’s The Melodic Blue returns to the top 10 after more than a year, vaulting 105-7, following the set’s expanded reissue and debut on vinyl (both on Oct. 28). Ten additional tracks were added to the album (bringing its total to 26 tracks), while the set’s original standard tracklist of 16 tracks bowed on vinyl LP.

The Melodic Blue earned 37,000 equivalent album units in the week ending Nov. 3 (up 267%). Of that sum, SEA units comprise 26,000 (equaling 35.76 million on-demand official streams of the set’s collected tracks), album sales comprise 11,000 (essentially all in vinyl sales) and TEA units comprise a negligible sum.

The Melodic Blue previously spent one week in the top 10, when it debuted and peaked at No. 5 on the Sept. 25, 2021-dated chart.

Kodak Black collects his fifth top 10-charting effort on the Billboard 200 as Kutthroat Bill: Vol. 1 debuts at No. 8 with 37,000 equivalent album units earned. Of that sum, SEA units comprise 34,000 (equaling 45.67 million on-demand official streams of the set’s tracks), album sales comprise 2,500 and TEA units comprise a negligible sum.

Rounding out the top 10 on the new Billboard 200 are two former No. 1s: Harry Styles’ Harry’s House, falling 8-9 with 31,000 equivalent album units (down 3%), and Beyoncé’s Renaissance, steady at No. 10 with 26,000 (down 12%).

Source: billboard.com

Plus: Arctic Monkeys, YoungBoy Never Broke Again and Jeezy & DJ Drama debut in top 10.

Taylor Swift achieves her 11th No. 1 album on the Billboard 200 chart (dated Nov. 5) as Midnights arrives with the biggest week for any album in nearly seven years. The set launches with 1.578 million equivalent album units earned in the U.S. in the week ending Oct. 27, according to Luminate. The last album to tally a larger week was the debut frame of Adele’s 25, when it bowed with 3.482 million units (Dec. 12, 2015-dated chart).

Midnights was released on Oct. 21 after being announced two months earlier by Swift at the MTV Video Music Awards (Aug. 28). No music from the album was released until the set dropped on Oct. 21, when she also issued the music video for Midnights’ first single, “Anti-Hero.” Midnights is Swift’s 10th full-length studio album and initially bowed as a 13-track standard release. Three hours after Midnights’ arrival, Swift released a deluxe version of the album (its “3am Edition”) with seven bonus tracks.

Swift now ties Barbra Streisand for the most No. 1 albums among women. Swift is also the sixth act with more than 10 No. 1 albums on the Billboard 200 since the chart began regularly publishing on a weekly basis in 1956. She joins The Beatles (who lead with a record 19 No. 1s), Jay-Z (14), Drake, Bruce Springsteen and Streisand (each with 11).

Midnights is already the year’s top-selling album by overall sales through the year, and tallies the largest sales week for an album since her own reputation debuted in 2017, the third-largest streaming week ever for an album, and the biggest sales week for a vinyl album in the modern era (since Luminate began tracking music sales in 1991).

Also in the top 10 of the new Billboard 200: albums from Arctic Monkeys, YoungBoy Never Broke Again and Jeezy and DJ Drama debut.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Nov. 5, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 1). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Midnights’ 1.578 equivalent album units earned, album sales comprise 1.140 million, SEA units comprise 419,000 (equaling 549.26 million on-demand official streams of the set’s 20 total tracks) and TEA units comprise 19,000.

Third-Biggest Streaming Week Ever: Midnights logs the third-largest streaming week ever for an album, by total on-demand official streams. It also captures the biggest streaming week for a non-R&B/hip-hop album and any album by a woman. The Nos. 1 and 2 biggest streaming weeks were logged by the debut frames of Drake’s Scorpion (745.92 million) and Certified Lover Boy (743.67 million), respectively.

Previously, Swift’s biggest streaming week for an album was tallied by the first week of Red (Taylor’s Version), with 303.23 million in 2021.

2022’s Top-Selling Album: With 1.140 million sold, Midnights is easily 2022’s top-selling album already. Previously, 2022’s top-seller — adding up all sales generated through the year — was Harry Styles’ Harry’s House, with 633,000 copies sold through Oct. 27. (In terms of total equivalent album units, Bad Bunny’s Un Verano Sin Ti is 2022’s biggest album, with 2.911 million units earned.)

Breaking down Midnights’ first-week sales of 1.140 million, physical sales comprise 980,000 (575,000 on vinyl, 395,000 on CD and 10,000 on cassette) and digital album downloads comprise 161,000.

Biggest Sales Week Since Swift’s Own reputation: The 1.140 million sales number for Midnights marks the largest sales week for any album since Swift’s own reputation debuted with 1.216 million copies sold (chart dated Dec. 2, 2017).

Swift Has Five Albums With Million-Plus Sales Weeks: Midnights is the 22nd album to sell at least 1 million copies in a single week since Luminate began tracking music sales in 1991. In total, there have been 24 instances — by 22 different albums — in which an album sold at least 1 million copies in a week. One of those albums, Adele’s 25, sold more than 1 million in three separate weeks. Swift is the only artist with five different albums to each sell at least 1 million copies in a single week in the Luminate era — Midnights, reputation, 1989, Red, and Speak Now.

Further, now with five, Swift remains the only act with at least three different albums that hit the million-sales weekly threshold. Three acts have a pair of albums that each managed a million-plus sales week: Backstreet Boys, Eminem and *NSYNC.

New Modern-Era Vinyl Sales Record: Midnights handily breaks the modern-era record for single-week vinyl album sales in the U.S. with 575,000 vinyl LPs sold. That’s the largest week for an album on vinyl since Luminate began tracking music sales in 1991. It surges past the previous high, set earlier this year, when Harry’s House debuted with 182,000 vinyl copies (week ending May 26, 2021).

Midnights is also already 2022’s top-seller on vinyl year-to-date. Previously, the year’s top-seller on vinyl was Harry’s House, with 377,000 sold through the year.

Midnights’ 395,000 in CD sales is the largest sales week for an album on CD since reputation launched with 507,000 copies sold.

Midnights arrived after months of pre-release promotion and pre-orders — and its sales figure is bolstered by an array of available versions and variants of the album. It is available to purchase in a standard digital album (both clean and explicit); a deluxe digital album (clean and explicit, each with seven additional songs); an iTunes-exclusive version with a bonus spoken word track (clean and explicit); four standard CD editions (each with a different cover, both clean and explicit); four vinyl LP editions (each with a different cover and colored vinyl); and a cassette tape. Target is also selling an exclusive “Lavender” edition of the album on CD and colored-vinyl LP, with the CD boasting three bonus tracks.

Plus, in the weeks leading up to release, Swift’s webstore sold pre-orders of signed copies of the four standard CD albums and the four standard vinyl LPs. Midnights is also available in deluxe boxed set with a CD edition of the album and a Swift-branded T-shirt, exclusively for Capital One cardholders.

Some superfans may have also been enticed to purchase all four variants of the album on either CD or vinyl, as the back covers of the four albums fit together like a puzzle to display a clock face (a literal reference to Midnights!). Swift shared the news through her social media in mid-September, saying: “If you put all the back covers together, she’s a clock. It’s a clock… It makes a clock.” (Swift’s official webstore sells hardware to hold the four CDs or the four vinyl LPs together as a wall clock.) The idea of assembling multiple versions of an album’s back cover (or cover) together to reveal a larger complete image isn’t unique to Swift, as other acts (frequently in the K-pop world) have employed a similar marketing idea.

It’s not unusual for many artists to offer variants of an album, from multiple color vinyl editions to collectible CD packages and beyond. Swift herself has rolled out albums in a similar fashion in the past — she had four different Target-exclusive variants for Lover in 2015. In 2022, acts ranging from Red Hot Chili Peppers and Ozzy Osbourne to BLACKPINK and Madonna have all leaned in to the practice of offering multiple iterations of a physical album where usually the only difference is in packaging or the color of a vinyl LP.

Lil Baby’s It’s Only Me falls to No. 2 on the Billboard 200 (110,000 equivalent album units; down 49%) after debuting atop the list a week earlier. Bad Bunny’s chart-topping Un Verano Sin Ti drops out of the top two for the first time since its release, as the set moves 2-3 with 67,000 units (down 7%). When the album hit its 18th week in the top two, it became the first set to spend its first 18 weeks in the top two since the chart since August of 1963, when Billboard combined its separate stereo and mono album charts into one single album chart. (See more history on the Billboard 200, which began publishing as a regular, weekly fixture in March of 1956.)

Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 4 with 43,000 equivalent album units (down 4%) and The Weeknd’s The Highlights is stationary at No. 5 with 39,000 (down less than 1%).

Arctic Monkeys score their fourth top 10-charting album on the Billboard 200 as The Car drives in at No. 6 in its first week. It earned 37,500 equivalent album units; of that sum, album sales comprise 28,500, SEA units comprise 9,000 (equaling 11.76 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

YoungBoy Never Broke Again’s Ma’ I Got a Family starts at No. 7 on the Billboard 200 with 37,000 equivalent album units earned. Of that, SEA units comprise 36,500 (equaling 52.54 million on-demand official streams of the set’s songs). The new set is the 12 th top 10-charting effort for the prolific rapper, and his fifth top 10 in 2022 — the most of any act this year. He made his Billboard 200 debut in 2017 and got his first top 10 in 2018 with Until Death Call My Name. In total, his latest debut is the artist’s 25th charting effort.

Styles’ Harry’s House is a non-mover at No. 8 on the Billboard 200 with 32,000 equivalent album units earned (up 1%).

Jeezy and DJ Drama’s Snofall starts at No. 9 on the Billboard 200, marking the 11th top 10 for the former and the first for the latter. It bows with 31,000 equivalent album units earned. SEA units comprise 28,000 (equaling 38.45 million on-demand official streams of the set’s songs), album sales comprise 2,500 and TEA units comprise 500.

Rounding out the new top 10 is Beyonce’s former No. 1 Renaissance, which falls 6-10 with 30,000 equivalent album units earned (down 10%).

Source: billboard.com

Plus, Lil Baby debuts three songs in the top 10 from his new Billboard 200 No. 1 album, ‘It’s Only Me.’

Sam Smith and Kim Petras‘ “Unholy” ascends to No. 1 on the Billboard Hot 100 songs chart, marking each artist’s first leader on the list.

Plus, Lil Baby launches three songs in the Hot 100’s top 10 – “California Breeze”; “Forever,” featuring Fridayy; and “Real Spill” – at Nos. 4, 8 and 10, respectively, upping his count to 13 career top 10s. All three tracks are from his new album It’s Only Me, which bounds in at No. 1 on the Billboard 200.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Oct. 29, 2022) will update on Billboard.com tomorrow (Oct. 25). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Unholy,” released on EMI/Capitol Records, tallied 25.3 million streams (up 9%), 21.5 million radio airplay audience impressions (up 40%) and 19,000 downloads sold (up 60%, aided by 69-cent sale-pricing, as well as the release of live and instrumental versions and Disclosure and Acraze remixes) in the Oct. 14-20 tracking week, according to Luminate.

The single tops the Streaming Songs and Digital Song Sales charts for a fourth week each and jumps 44-25 on Radio Songs.

“Unholy” debuted at No. 3 on the Oct. 8-dated Hot 100 and spent its next two weeks each at No. 2 prior to its coronation, as it becomes the 1,143rd No. 1 in the Hot 100’s 64-year history. It was released Sept. 22, after Smith and Petras began teasing the single on TikTok in August, and its official video premiered Sept. 30. As announced Oct. 17, the song will appear on Smith’s forthcoming fourth LP, Gloria, due Jan. 27.

Smith & Petras’ First No. 1 Each

Smith and Petras each top the Hot 100 for the first time, Smith with their 20th entry on the chart and Petras with her first. Smith had previously reached a No. 2 top peak with “Stay With Me” in 2014, among seven total top 10s.

“Unholy” dethrones Steve Lacy’s “Bad Habit” after the latter led the Hot 100 the last three weeks. “I love you, Steve Lacy – I think ‘Bad Habit’ is a great song – but move out of the way!” Petras teased as “Unholy” ranked at No. 2.

First, And ‘Don’t Want to Be the Last’

Smith and Petras are the first publicly non-binary and transgender soloists, respectively, to top the Hot 100.

“I just really don’t want to be the last,” Petras told Billboard. “There’s always been incredible and talented trans artists. I’m just happy that Sam gave me the chance to shine here. It feels like people are finally ready for us to succeed, and that fills me with a lot of joy.”

Smith also recently shared with Billboard, “People understanding us… is just the best feeling in the world. Because there’s nothing bad happening here, it’s all love. No one’s taking anything from anyone. People are just trying to live in their own skin on this earth.”

No. 1 in Streams & Sales for 4th Week

As “Unholy” leads both Streaming Songs and Digital Song Sales for a fourth week each, all from its debut, it’s the first title to top both tallies in its first four weeks on each list since Adele’s “Hello” also led both charts in its first four weeks on each survey in November-December 2015.

Capitol, EMI Commands

Thanks to “Unholy,” Capitol Records notches its first Hot 100 No. 1 since Lewis Capaldi’s “Someone You Loved” began a three-week reign on the chart dated Nov. 2, 1019.

Meanwhile, the EMI imprint appears atop the Hot 100 for the first time since EMF’s “Unbelivable” led for a week in July 1991. (EMI also ruled the chart for a week in May 1991 via Roxette’s “Joyride.”) EMI was revived in 2020 and had since released two Hot 100 top 10s prior to “Unholy,” both by Elton John: “Cold Heart (Pnau Remix),” with Dua Lipa (on Rocket/EMI/Mercury/Interscope; No. 7 peak in January), and “Hold Me Closer,” with Britney Spears (EMI/Mercury/Interscope; No. 6 debut and peak to-date, September).

Britain’s Big Year

With Smith born in London, “Unholy” is the third Hot 100 No. 1 this year by a British act in a lead role, following Harry Styles’ “As It Was” and Glass Animals’ “Heat Waves.” (Petras is from Germany.)

2022’s trio of Hot 100 No. 1s by lead British acts marks the most in a year since 1989, when six such songs reigned (Phil Collins’ “Two Hearts” and “Another Day in Paradise”; Mike + The Mechanics’ “The Living Years”; Fine Young Cannibals’ “She Drives Me Crazy” and “Good Thing”; and Simply Red’s “If You Don’t Know Me by Now”). (With the ’80s a strong period for British acts, a single-year record 13 such hits ruled in 1985.)

Rihanna at No. 1

Meanwhile, another Hot 100 chart-topper plays into “Unholy,” as Rihanna receives a shout-out in the song’s lyrics. Rihanna has scored 14 No. 1s, the third-most after The Beatles (20) and Mariah Carey (19).

Lacy’s “Bad Habit” descends to No. 2 on the Hot 100, with 47 million in airplay audience (up 9%), 20.5 million streams (up 2%) and 2,000 sold (down 1%). The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a ninth week each and the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for an eighth frame each. It became the first song to rule all five rankings (dating to October 2012, when Billboard‘s main genre-based song charts adopted the Hot 100’s methodology).

Styles “As It Was” holds at No. 3 on the Hot 100, after 15 weeks at No. 1 – the fourth-longest reign in the chart’s history. Still, the song, which debuted at No. 1 on the April 16-dated list, extends its record for the most weeks, 29, logged in the top three, encompassing its entire run on the chart so far. The track also adds a 10th week at No. 1 on Radio Songs (61.4 million in audience, up 1%).

Lil Baby debuts three songs on the Hot 100 in the top 10: “California Breeze,” “Forever,” featuring Fridayy, and “Real Spill,” at Nos. 4, 8 and 10, respectively. Streaming almost entirely drives the songs’ entrances, as they start at No. 2 (23.2 million streams), No. 3 (19.9 million) and No. 5 (19.1 million), respectively, on Streaming Songs.

Lil Baby notches his 11th, 12th and 13th Hot 100 top 10s, with all three tracks from his album It’s Only Me, which soars in as his third Billboard 200 No. 1, with 216,000 equivalent album units.

Fridayy earns his first Hot 100 top 10, in his second appearance, following his featured turn (with Rick Ross, Lil Wayne, Jay-Z and John Legend) on DJ Khaled’s “God Did” (No. 17, September).

Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, dips 4-5 on the Hot 100, after reaching No. 3; OneRepublic’s “I Ain’t Worried” keeps at its No. 6 best; and Morgan Wallen’s “You Proof” drops to No. 7 from its No. 5 high, as it leads the multi-metric Hot Country Songs chart for a 10th week.

Elsewhere the Hot 100’s top 10, Nicki Minaj’s “Super Freaky Girl” slips 8-9, after it opened atop the Aug. 27 chart, as it tops the multi-metric Hot Rap Songs tally for a 10th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 29), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 25).

Source: billboard.com

Plus: Red Hot Chili Peppers, The 1975 and Bailey Zimmerman debut in the top 10.

Lil Baby lands his third No. 1 on the Billboard 200 chart (dated Oct. 29) as It’s Only Me debuts atop the tally. The set earned 216,000 equivalent album units in the U.S. in the week ending Oct. 20, according to Luminate. It also claims the third-largest streaming week for an album in 2022.

Lil Baby previously topped the list with The Voice of the Heroes (a collaborative set with Lil Durk in 2021) and My Turn (2020). The latter finished 2020 as Luminate’s most popular album of that year.

It’s Only Me was announced in early September and marks the rapper’s sixth top 10, all consecutive, on the Billboard 200.

Also in the top 10 of the new Billboard 200, Red Hot Chili Peppers’ second album of 2022, Return of the Dream Canteen, enters at No. 3; The 1975’s Being Funny in a Foreign Language starts at No. 7 and Bailey Zimmerman’s debut effort Leave the Light On bows at No. 9.

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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 29, 2022-dated chart will be posted in full on Billboard‘s website on Oct. 25. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of It’s Only Me’s 216,000 equivalent album units earned, SEA units comprise 209,000 (equaling 288.97 million on-demand officials streams of the set’s 23 tracks — the third-largest streaming week of 2022 for an album), album sales comprise 6,500 and TEA units comprise 500.

Bad Bunny’s former No. 1 Un Verano Sin Ti is a non-mover at No. 2 on the Billboard 200 with 72,000 equivalent album units earned (down 5%).

Red Hot Chili Peppers’ second album of 2022, Return of the Dream Canteen, debuts at No. 3 with 63,000 equivalent album units earned. Of that sum, album sales comprise 56,000 (it’s the top-selling album of the week, debuting at No. 1 on Top Album Sales), SEA units comprise 7,000 and TEA units comprise a negligible sum. Return of the Dream Canteen follows the band’s chart-topping Unlimited Love, which debuted atop the list dated April 16.

Notably, on the Top Album Sales chart, the Peppers have scored a pair of No. 1s in 2022 (Unlimited Love and Return of the Dream Canteen) – making it the first group with two No. 1 rock albums on the chart in less than 12 months since 2005. That year, System of a Down doubled-up at No. 1 with Mezmerize and Hypnotize. (The Peppers have logged their two 2022 No. 1s six months and two weeks apart; System of a Down notched theirs in 2005 six months and a week apart.)

Return of the Dream Canteen marks the ninth top 10-charting album for Red Hot Chili Peppers on the Billboard 200. The album was led by the single “Tippa My Tongue,” which hit No. 1 on both the Rock & Alternative Airplay and Alternative Airplay charts. On the latter, it’s the 15th No. 1 for the group, extending its record for the most No. 1s in the chart’s history.

Morgan Wallen’s chart-topping Dangerous: The Double Album is stationary at No. 4 on the Billboard 200 (45,000 equivalent album units; down 2%), The Weeknd’s The Highlights is steady at No. 5 (40,000; down less than 1%) and Beyoncé’s former No. 1 Renaissance falls 3-6 (33,000; down 56%).

The 1975 collects its fourth top 10-charting effort on the Billboard 200 as the band’s new Being Funny in a Foreign Language bows at No. 7 with 32,500 equivalent album units earned. Of that sum, album sales comprise 19,500, SEA units comprise 13,000 (equaling 16.24 million on-demand official streams of the set’s 11 tracks) and TEA units comprise a negligible sum. The album was preceded by a pair of top 20-charting singles on the Alternative Airplay chart (“Part of the Band” and “I’m in Love With You”).

Harry Styles’ chart-topping Harry’s House falls 6-8 with 32,000 equivalent album units earned (down 5%).

Bailey Zimmerman’s debut effort Leave the Light On starts at No. 9 on the Billboard 200 with 32,000 equivalent album units earned. Of that sum, SEA units comprise 27,000 (equaling 36.19 million on-demand official streams of the set’s nine tracks), album sales comprise 4,000 and TEA units comprise 1,000.

The singer-songwriter initially broke through on TikTok in 2020 and has already notched a trio of top 10-charting hits on the Hot Country Songs chart, all of which are included on Leave the Light On (“Fall in Love,” “Rock and a Hard Place” and “Where It Ends”). All three tracks have additionally reached the top 25 on the all-genre Streaming Songs chart, and the top five of the Country Streaming Songs chart (with “Rock and a Hard Place” hitting No. 1 in June).

Zach Bryan rounds out the top 10 of the new Billboard 200 as American Heartbreak falls 8-10 with 28,000 equivalent album units earned (up 1%).

Source: billboard.com

Doja Cat adds her sixth Hot 100 top 10 and extends Elvis Presley’s legacy in the region.

Steve Lacy‘s “Bad Habit” notches a third week at No. 1 on the Billboard Hot 100 songs chart, two weeks after it ascended to the summit.

Meanwhile, Morgan Wallen achieves his first top five Hot 100 hit as “You Proof” rises from No. 7 to No. 5 and Doja Cat reaches the top 10 with “Vegas” (11-10). The latter samples Big Mama Thornton’s 1953 classic “Hound Dog,” which Elvis Presley famously covered in 1956, marking the latest chart success for the iconic song.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Oct. 22, 2022) will update on Billboard.com tomorrow (Oct. 18). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Bad Habit,” released on L-M/RCA Records, tallied 42.3 million radio airplay audience impressions (up 4%), 20.1 million streams (down 2%) and 2,000 downloads sold (down 27%) in the Oct. 7-13 tracking week, according to Luminate.

The single, which Lacy solely produced and co-wrote, holds at No. 2 after five nonconsecutive weeks atop the Streaming Songs chart; keeps at its No. 7 high on Radio Songs; and falls to No. 43 from its No. 32 best on Digital Song Sales.

Lacy’s first Hot 100 No. 1, from his album Gemini Rights, which debuted as his first Billboard 200 top 10, at its No. 7 high, in July, concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an eighth week each and the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a seventh frame each. It became the first song to rule all five rankings (dating to October 2012, when Billboard‘s main genre-based song charts adopted the Hot 100’s methodology).

Sam Smith and Kim Petras’ “Unholy” repeats at its No. 2 Hot 100 high, with 23.2 million streams (down 2%), 15.2 million in airplay audience (up 55%) and 12,000 sold (up 10%). It leads both Streaming Songs and Digital Song Sales for a third week and is the first hit to top both charts in its first three weeks on each list since Olivia Rodrigo’s “Drivers License” doubled up in its first three weeks on each survey (Jan. 23, 30 and Feb. 6, 2021; it went on to spend its first four frames atop Streaming Songs).

Harry Styles “As It Was” is steady at No. 3 on the Hot 100, after 15 weeks at No. 1 – the fourth-longest reign in the chart’s history. Still, the song, which debuted at No. 1 on the April 16-dated list, extends its record for the most weeks, 28, tallied in the top three, encompassing its entire run on the chart so far.

The track also rebounds for a ninth week at No. 1 on Radio Songs (60 million in audience, up 2%). It has led the list over a span of 23 weeks (since its first week atop the chart, dated May 21), the second-longest stretch of a song reigning, after The Weeknd’s “Blinding Lights,” which led for 26 weeks over 28 weeks in 2020.

Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, holds at No. 4 on the Hot 100, after reaching No. 3.

Morgan Wallen’s “You Proof” rises 7-5 for a new Hot 100 high, becoming the country star’s first top five hit, among four top 10s. Notably, it’s the second top five hit this decade that has reached the region by appearing on, among individual-format airplay charts, only Country Airplay (as opposed to crossing over to pop and/or adult surveys); Luke Combs’ “Forever After All” launched at its No. 2 Hot 100 peak in November 2020. Both tracks gained prominence thanks to strong streaming and country radio airplay, as “You Proof” drew 13.7 million streams in the latest tracking week, as it ranks at No. 8 on Streaming Songs, and tops the Country Airplay chart for a second frame. (“Forever” hit No. 2 on Streaming Songs and No. 1 for six weeks on Country Airplay.)

On Radio Songs, “You Proof” lifts 11-10 (34.6 million, up 2%), similarly becoming just the third title to reach the top 10 by appearing on Country Airplay but on no other individual genre chart (since Radio Songs became an all-format summary in December 1998). It joins Combs’ “Forever After All,” which reached No. 10 on Radio Songs in June 2021, and Cole Swindell’s “She Had Me at Heads Carolina,” which hit No. 9 on Radio Songs earlier in October (and topped Country Airplay for four frames starting in September).

“You Proof” concurrently commands the multi-metric Hot Country Songs chart for a ninth week.

OneRepublic’s “I Ain’t Worried” keeps at its No. 6 Hot 100 best; Nicky Youre and dazy’s “Sunroof” drops 5-7, after hitting No. 4; Nicki Minaj’s “Super Freaky Girl” holds at No. 8, after it premiered atop the Aug. 27 chart, as it tops the multi-metric Hot Rap Songs chart for a ninth week; and Combs’ “The Kind of Love We Make” is stationary at No. 9 on the Hot 100, after reaching No. 8.

Rounding out the Hot 100’s top 10, Doja Cat climbs 11-10 with “Vegas.” The song, from the hit Elvis movie soundtrack, reaches the Radio Songs top five (6-5; 48.5 million, up 4%) and also drew 8 million streams and sold 2,000 in the tracking week.

Doja Cat adds her sixth Hot 100 top 10. Prior to “Vegas” and “I Like You,” she tallied “Say So,” featuring Nicki Minaj (No. 1, one week, May 2020); “Kiss Me More,” featuring SZA (No. 3, July 2021); “Need to Know” (No. 8, November 2021); and “Woman” (No. 7, this May). She boasts the most top 10s among women this decade, surpassing Taylor Swift’s five since the start of 2020 (although with Swift appearing primed to reignite that race thanks to her LP Midnights, due this Friday).

“Vegas” samples Big Mama Thornton’s “Hound Dog,” a Billboard R&B chart No. 1 for the blues legend (who passed away in 1984) nearly 70 years ago. Written by Songwriters Hall of Fame and Rock and Roll Hall of Fame inductees Jerry Leiber and Mike Stoller, Elvis Presley’s version crowned multiple Billboard charts in 1956. (The Hot 100 began Aug. 4, 1958.)

Presley’s imprint is, thus, extended in the Hot 100’s top 10. Notably, “Hound Dog” was originally released with B-side and fellow classic “Don’t Be Cruel,” also a No. 1 on multiple Billboard surveys in 1956, and Cheap Trick’s faithful cover of the latter hit No. 4 on the Hot 100 in October 1988. Earlier in 1988, Pet Shop Boys likewise sent their interpretation of “Always on My Mind” to No. 4 (that May), after Presley’s ballad version hit No. 16 on Hot Country Songs in 1973. In July 1993, UB40’s take on “Can’t Help Falling in Love,” which Presley took to No. 2 on the Hot 100 in 1962, began a seven-week reign.

The late Presley himself appeared on the Hot 100 as recently as January 2021, when his holiday perennial “Blue Christmas,” originally from 1957, hit a No. 33 high, after becoming his highest-charting entry since 1981.

“Vegas” (a noteworthy hit in Tupelo, Miss.) additionally becomes Doja Cat’s sixth No. 1 on the Pop Airplay chart. It replaces “I Like You” atop the tally, making her the first artist to dethrone themselves at the summit since Ariana Grande’s “34+35” directly followed her “Positions” to the top in February 2021.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 18).

Source: billboard.com

Plus: New albums from Takeoff & Quavo, G Herbo and Charlie Puth debut in top 10.

Stray Kids ring up their second No. 1 album on the Billboard 200 — and second of 2022 — as MAXIDENT debuts atop the list (dated Oct. 22). The eight track set bows with 117,000 equivalent album units earned in the U.S. in the week ending Oct. 13, according to Luminate. The South Korean group notched its first chart-topper on the April 2 list, with its first charting effort, ODDINARY.

Both ODDINARY and MAXIDENT were released via JYP/Imperial/Republic Records.

Maxident is the fourth album by a South Korean act to lead the Billboard 200 in 2022, following BLACKPINK’s Born Pink, BTS’ Proof and ODDINARY. In 2021, there were zero No. 1s by a South Korean act, and in 2020 there were two (BTS’ Map of the Soul: 7 and BE).

Also in the top 10 of the new Billboard 200, Takeoff and Quavo’s collaborative album, Only Built for Infinity Links, debuts at No. 7, G Herbo’s Survivor’s Remorse: Side A bows at No. 9, and Charlie Puth’s Charlie debuts at No. 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, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 22, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 18). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of MAXIDENT’s 117,000 equivalent album units earned, album sales comprise 110,000, SEA units comprise 7,000 (equaling 9.61 million on-demand official streams of the set’s eight tracks) and TEA units comprise a negligible sum.

MAXIDENT’s 110,000 sold marks the fourth-largest sales week of any album in 2022. Of that sum, 97% were CD sales (107,000), while 3% were digital album sales (3,000). The set was not available in any other configuration (such as vinyl LP or cassette).

The CD configuration of the album was issued in collectible packages (10 total, including exclusive variants for Barnes & Noble, Target and the group’s official webstore), each with a standard set of internal paper items and randomized elements (such as photocards, mini posters and stickers). CD sales were also aided by autographed editions sold via the act’s webstore.

MAXIDENT bows at No. 1 on the Billboard 200 only six months and three weeks after ODDINARY opened atop the list. The last act with a shorter wait between new No. 1s was Young Thug, with six months between the Young Stoner Life: Slime Language 2 (credited on the chart to Young Thug & Various Artists; May 1, 2021, chart) and Punk (Oct. 30, 2021). The last act with a shorter wait between No. 1s excluding those co-billed with a cast of various artists was Taylor Swift, who waited a more scant four months between the first weeks at No. 1 for Evermore (Dec. 26, 2020) and Fearless (Taylor’s Version) (April 24, 2021). The last group to have a shorter wait between No. 1s was BTS, with just three months and one week between its first two No. 1s: Love Yourself: Tear (June 2, 2018) and Love Yourself: Answer (Sept. 8, 2018).

ODDINARY and MAXIDENT are Stray Kids’ first two albums to chart on the Billboard 200. Thus, the group maintains a perfect record on the list, landing No. 1 albums with its first two entries. Stray Kids made their overall Billboard chart debut in 2017 on the World Digital Song Sales chart (which ranks the week’s top-selling world music digital songs) and landed their first entry on a Billboard album chart in 2018 with Mixtape. In 2018-21, the act accumulated 10 top 10-charting albums on Billboard‘s World Albums chart (which ranks the week’s most popular world music titles). Stray Kids did not reach the all-genre Billboard 200 with any release until this April with ODDINARY, which marked the act’s first release in the U.S. through JYP’s partnership with Imperial/Republic.

MAXIDENT is mostly in the Korean language, but includes a fair amount of English lyrics. Notably, itis the 16th mostly non-English language album to hit No. 1 and the fourth in 2022. Earlier in the year, there were mostly non-English No. 1s from BTS’ mostly-Korean Proof, Bad Bunny’s all-Spanish Un Verano Sin Ti and the mostly-Korean ODDINARY.

While Stray Kids have yet to chart a song on the U.S.-based Billboard Hot 100 chart (through the most recently published list, dated Oct. 15), the group has notched a trio of songs on the Billboard Global 200 and six on the Billboard Global 200 Excl. U.S. tally. The act last charted on both lists with the ODDINARY single “Maniac,” peaking at Nos. 21 and 15, respectively.

Bad Bunny’s Un Verano Sin Ti falls to No. 2 on the Billboard 200 after 13 nonconsecutive weeks atop the list (76,000 equivalent album units earned; down 9%).

Beyoncé’s former No. 1 Renaissance rallies 6-3 with 75,000 equivalent album units (up 145%) after the wide release of its vinyl album on Oct. 7.

Morgan Wallen’s chart-topping Dangerous: The Double Album dips 3-4 on the Billboard 200 with 46,000 equivalent album units earned (down less than 1%).

Dangerous: The Double Album has now accumulated 91 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the fifth-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.

Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards):

Weeks in Top 10, Artist, Title, Year First Reached Top 10

173, Original Cast, My Fair Lady, 1956
109, Soundtrack, The Sound of Music, 1965
106, Soundtrack, West Side Story, 1962
105, Original Cast, The Sound of Music, 1960
91, Morgan Wallen, Dangerous: The Double Album, 2021
90, Soundtrack, South Pacific, 1958
87, Original Cast, Camelot, 1961
87, Soundtrack, Oklahoma!, 1956
85, Peter, Paul and Mary, Peter Paul and Mary, 1962
84, Adele, 21, 2011
84, Bruce Springsteen, Born in the U.S.A., 1984
(through the Oct. 22, 2022-dated chart)

The Weeknd’s compilation The Highlights falls 4-5 on the Billboard 200 with 40,000 equivalent album units earned (up 1%), while Harry Styles’ former leader Harry’s House moves 5-6 with 34,000 (down 1%).

Takeoff and Quavo’s collaborative set, Only Built for Infinity Links, bows at No. 7 with 33,500 equivalent album units earned. Of that sum, SEA units comprise 31,000 (equaling 41.13 million on-demand official streams of the set’s 18 tracks), album sales comprise 2,000 and TEA units comprise 500. It’s the second top 10-charting set for Takeoff (following The Last Rocket, No. 4 in 2018) and the second for Quavo (after Quavo Huncho, No. 2, also in 2018).

Takeoff and Quavo also comprise two-thirds of Migos, which logged three top 10s, including a pair of No. 1s in Culture and Culture II (in 2017 and 2018, respectively). Migos’ third member, Offset, is due to release a solo album on Nov. 11. He’s previously logged two top 10s on the Billboard 200 (Without Warning, with 21 Savage and Metro Boomin, No. 4 in 2017; and Father of 4, No. 4 in 2019). As for Migos, the act is on an indefinite hiatus.

Zach Bryan’s American Heartbreak is pushed down 7-8 on the Billboard 200 despite a 1% gain (to 28,000 equivalent album units).

G Herbo notches his third top 10 album on the Billboard 200 with the No. 9 debut of Survivor’s Remorse: Side A, which launches with 27,500 equivalent album units earned. Of that sum, SEA units comprise 27,000 (equaling 36.44 million on-demand official streams of the set’s tracks), album sales comprise 500 units and TEA units comprise a negligible sum. The project was initially released as a 12-track standard album on Oct. 7, and was reissued in a deluxe form on Oct. 10 with 13 additional tracks (dubbed Survivor’s Remorse: Side A & Side B).

Charlie Puth rounds out the top 10 of the new Billboard 200 with his third full-length album, Charlie, which bows at No. 10. All three of his full-length studio projects have debuted in the top 10. The new set starts with 26,500 equivalent album units earned, of which SEA units comprise 16,000 (equaling 21.26 million on-demand official streams of the set’s 12 tracks), album sales comprise 9,500 and TEA units comprise 1,000.

Charlie was preceded by a pair of top 30-charting hits on the Billboard Hot 100: “Light Switch” and “Left and Right,” the latter featuring Jung Kook (of BTS).

Source: billboard.com