“Black Beatles,” featuring Gucci Mane, rules for a sixth week, while Zayn & Swift’s “I Don’t Wanna Live Forever” and Cole’s “Deja Vu” debut at Nos. 6 &7, respectively. Plus, Maroon 5’s “Don’t Wanna Know” takes over as the most-heard song on radio.

Rae Sremmurd leads the Billboard Hot 100 (dated Dec. 31) for a sixth week with “Black Beatles,” featuring Gucci Mane. Meanwhile, Zayn and Taylor Swift’s “I Don’t Wanna Live Forever (Fifty Shades Darker)” debuts at No. 6, marking Swift’s 20th Hot 100 top 10, and J. Cole‘s “Deja Vu” begins at No. 7. Plus, Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, is newly minted as the most-heard song on radio.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Beatles,” released on Interscope Records and the first Hot 100 No. 1 for the brother duo of Khalif “Swae Lee” and Aaquil “Slim Jxmmi” Brown (and likewise the first leader for Gucci Mane), is the most-streamed song of the week for a sixth week, leading the Streaming Songs chart with 32.7 million U.S. streams (down 14 percent), according to Nielsen Music. It drops to No. 3 after five weeks atop Digital Song Sales with 61,000 sold (down 13 percent), while bulleting at its No. 8 high on Radio Songs (92 million in audience, up 6 percent).

As on the Hot 100, “Beatles” tops Billboard’s Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a sixth week each.

The Weeknd‘s “Starboy,” featuring Daft Punk, spends an eighth (nonconsecutive) week at its No. 2 Hot 100 peak. It slips 2-3 on Streaming Songs (25.6 million, down 17 percent); 2-4 on Radio Songs (113 million, down 6 percent); and 2-5 on Digital Song Sales (58,000, down 4 percent). Still, it commands the Hot R&B Songs chart for a 12th week.

Notably, “Starboy” becomes the 10th song in the Hot 100’s 58-year history to spend at least eight weeks at No. 2 without reaching the summit; it’s the first since Ed Sheeran‘s “Thinking Out Loud,” which peaked at No. 2 for eight weeks in 2015. Four songs have spent more time peaking at the runner-up spot: Missy “Misdemeanor” Elliott’s “Work It” (10 weeks, 2003-03); Foreigner’s “Waiting for a Girl Like You” (10 weeks, 1981-82); Shania Twain’s “You’re Still the One” (nine weeks, 1998); and Donna Lewis’ “I Love You Always Forever” (nine weeks, 1996).

The Chainsmokers‘ “Closer,” featuring Halsey, holds at No. 3 on the Hot 100 after spending 12 weeks at No. 1, the longest rule of 2016. The song drops to No. 2 after 11 weeks at No. 1 on Radio Songs (125 million, down 7 percent); 4-7 on Streaming Songs (19.9 million, down 8 percent); and 7-11 on Digital Song Sales (38,000, down 12 percent). The track crowns the Hot Dance/Electronic Songs chart for an 18th week.

The Hot 100’s entire top five, in fact, stays in place from the previous week, as Bruno Mars‘ “24K Magic” holds at its No. 4 high and Ariana Grande’s “Side to Side,” featuring Nicki Minaj, keeps at No. 5 after reaching No. 4 (and leads the top 40-based Pop Songs airplay chart for a second week).

Zayn and Swift’s “I Don’t Wanna Live Forever (Fifty Shades Darker)” launches at No. 6 on the Hot 100 following its first full week of tracking. It bows as the week’s best-selling song, entering Digital Song Sales at No. 1 with 188,000 sold in the week ending Dec. 15 (thus, encompassing all the song’s first-week sales following its Dec. 9 release). Swift scores her 11th Digital Song Sales No. 1, tying Katy Perry for the second-most in the chart’s history; Rihanna leads with 14.

Zayn adds his second Digital Song Sales No. 1, following his debut solo single after leaving One Direction (with whom he notched two), as “Pillowtalk” likewise launched on top (Feb. 20).

“Live” also debuts at No. 26 on Radio Songs (39 million), drawing 3.5 million domestic streams for the week. Notably, the track, while available on Apple Music, Tidal and other subscription-only streaming services, was withheld from Spotify during the tracking week; however, it was made available on Spotify as of Dec. 16. Plus, the lack of an official video for “Live” kept it from bowing even higher on the Hot 100 (as YouTube clicks are often a major driver for songs’ streaming totals).

With the debut, Swift earns her 20th Hot 100 top 10, and Zayn, his second as a soloist (after four with 1D). She’s the 16th artist in the Hot 100’s archives to tally at least 20 top 10s, and the sixth woman; Madonna leads all acts with 38 top 10s. The other women to have reached the milestone: Rihanna, with 29; Mariah Carey and Janet Jackson, 27 each; and Whitney Houston, with 23. (Now with 20 top 10s, Swift matches the totals of Chicago and The Supremes.) “Live” is also Swift’s record-extending 13th top 10 Hot 100 debut.

“Live” is from Fifty Shades Darker, starring Dakota Johnson and Jamie Dornan. The film, the follow-up to 2015’s Fifty Shades of Grey, hits theaters Feb. 10, the same day that its soundtrack will be released.

Meanwhile, J. Cole achieves his first Hot 100 top 10, as “Deja Vu” debuts at No. 7. (He had reached a prior best peak of No. 13 with “Work Out” in January 2012.) “Deja Vu” is from Cole’s new album, 4 Your Eyez Only, which arrives as his fourth No. 1 on the Billboard 200 with 492,000 equivalent album units earned in the week ending Dec. 15, marking the third-highest unit debut of 2016. The song starts at No. 2 on Streaming Songs (26.9 million) and No. 21 on Digital Song Sales (30,000). It launches at No. 1 on the audio subscription services-based On-Demand Streaming Songs chart (26.9 million on-demand clicks), where the rapper ranks at Nos. 1 through 7, an unprecedented lock on all those spots in a single week.

All 10 songs from 4 Your Eyez Only debut on the Hot 100, along with “Everybody Dies,” from Cole’s recently-released Eyez documentary. He charts 12 titles in all on the Hot 100, as “False Prophets,” also from the Eyez doc, bounds 93-54.

With “Live” and “Deja Vu” entering in the Hot 100’s top 10 simultaneously, two songs debut in the top 10 in the same week for the second time in 2016, and both frames have featured Zayn. On Feb. 20, when “Pillowtalk” premiered at No. 1, Drake’s “Summer Sixteen” started at No. 6.

Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” retreats 6-8 on the Hot 100 after reaching No. 5, and DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, drops 8-9, after peaking at No. 4.

Rounding out the Hot 100’s top 10, Maroon 5’s “Don’t Wanna Know,” featuring Lamar, falls to No. 10 from its No. 7 high, while lifting 3-1 to crown Radio Songs (126 million, up 6 percent), where it’s the group’s fifth leader and Lamar’s second (following his featured turn on Swift’s five-week 2015 No. 1 “Bad Blood”). Dating to the inception of Radio Songs in December 1990, Maroon 5 ties Boyz II Men for the most No. 1s on the chart among groups. (Rihanna is the overall leader with 12 Radio Songs rulers.)

“Know” also takes over atop the Adult Pop Songs airplay chart (2-1), where it’s Maroon 5’s record-extending 12th No. 1. (Perry and P!nk follow with eight each.) Earlier this year, Maroon 5 earned the honor of the top act of the Adult Pop Songs chart’s first 20 years.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Dec. 20), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

J. Cole’s 4 Your Eyez Only bounds in at No. 1 on the Billboard 200 albums chart, granting the rapper his fourth chart-topper and notching the third-largest debut of 2016, according to Nielsen Music. The set earned 492,000 equivalent album units in the week ending Dec. 15. Only the bows of Drake’s Views (1.04 million units) and Beyonce’s Lemonade (653,000) were larger this year.

Of J. Cole’s overall 492,000 unit start, 363,000 were in traditional album sales — the third-biggest weekly sales sum for a single album this year. Again, it trails only the arrivals of Views (852,000 sold in its first week) and Lemonade (a 485,000 sales launch).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 31-dated chart (where 4 Your Eyez Only opens at No. 1) will be posted in full to Billboard’s Websites on Tuesday, Dec. 20.

4 Your Eyez Only also logs a big streaming week as it tallied 118,000 in SEA units (equaling 51.7 million streams of the album’s songs), which is the second-largest streaming debut ever for an album. It trails only the bow of Drake’s Views, which launched with 163,000 streaming units in its opening frame (equating to 245.1 million streams of songs from the album that week). 4 Your Eyez Only is just the third album to surpass 100,000 streaming equivalent album units in a single week, following Views and The Weeknd’s Starboy (with its opening frame of 117,000 in SEA units). Views actually did it three times: during its debut week, along with its third (124,000) and fourth (111,000) frames.

4 Your Eyez Only is J. Cole’s fourth studio album, and all four have debuted at No. 1. He joins Drake and DMX as the only rap acts to debut at No. 1 with their first four full-length studio efforts. Drake did it with his first six, starting with 2010’s Thank Me Later (and including his collaborative set with Future, What a Time to Be Alive, in 2015). DMX saw his first five full-length studio sets all enter atop the list, between 1998 and 2003.

J. Cole first hit No. 1 with his debut album, Cole World: The Sideline Story, in 2011, when it launched with 217,000 copies sold. He followed it in 2013 with Born Sinner (297,000 sold in its first week) and then the following year with 2014 Forest Hills Drive (354,000 first week sales). Thus, J. Cole has achieved an infrequent feat: each of his successive albums has started with a larger debut sales week than the previous set, as his new album bows with 363,000 sold.

Other acts that have shown steady gains with the opening frames of their recent albums include Bruno Mars, Adele (both with their first three studio sets) and Taylor Swift (with her first five studio efforts).

At No. 2 on the new Billboard 200 is a surging Pentatonix, with A Pentatonix Christmas. The set earned 156,000 units for the week (up 22 percent). The group’s previous holiday album, That’s Christmas To Me, returns to the top five, as it climbs 8-5 with 65,000 units (up 24 percent). Pentatonix is the first act to chart a pair of albums concurrently in the top five since Prince on the May 21-dated chart, following an outpouring of support for his music following his death on April 21. Previous to Prince, both David Bowie and Whitney Houston also scored the feat, in 2016 and 2012, respectively — but again, only after their deaths. The last living act to notch a pair of albums in the top five at the same time was Adele on the March 3, 2012-dated chart. That week’s chart reflected impact from the 2012 Grammy Awards, where Adele’s 21 took home multiple trophies, including the award for album of the year. The set held at No. 1 on the list, while her previous album, 19, jumped 9-4.

Back on the new Billboard 200 chart, The Weeknd’s Starboy slips 2-3 with 109,000 units (down 28 percent in its third week) and Bruno Mars’ 24K Magic rises 6-4 with 74,000 units (up 27 percent).

Singer/songwriter/rapper Post Malone sees his debut studio album, Stoney, bow at No. 6 with 58,000 units (19,000 in album sales). The album had a particularly robust number of streams for the week (51.7 million streams, equating to 34,000 SEA units), as the set garnered the third-most streams for its tracks among any album on the chart for the week (behind 4 Your Eyez Only and Starboy).

Stoney features Post Malone’s breakthrough smash single “White Iverson,” which reached No. 3 on the Hot Rap Songs chart in January.

The original Broadway cast recording of Hamilton returns to the top 10, as it climbs 11-7 with 48,000 units (up 7 percent). Its rise comes as its spin-off album, The Hamilton Mixtape, tumbles 1-14 in its second week with 36,000 units (down 81 percent).

The Moana movie soundtrack slips one rung to No. 8 with 48,000 units (down 10 percent) and Michael Buble’s Christmas jumps 13-9 with a little more than 43,000 units (up 1 percent). The Rolling Stones’ Blue & Lonesome rounds out the top 10, as it descends 4-10 in its second week with 43,000 units (down 65 percent).

Source: billboard.com

A look at some of 2016’s most notable numbers, from 1 (Direction) to 9:57 (the length of David Bowie’s “Blackstar,” a record for a Hot 100 hit) & more.

Every year brings new superlatives to Billboard‘s charts, and 2016 was no different.

Here is a look at 10 chart records rewritten over the past year.

(Meanwhile, click here for all of Billboard‘s 2016 year-end charts.)

• 7 – Record consecutive studio albums by Rihanna to yield a Billboard Hot 100 No. 1, from 2006’s A Girl Like You (“SOS”) through 2016’s Anti (“Work,” featuring Drake).

• 30 – Total acts who teamed as Artists of Then, Now & Forever for “Forever Country,” the medley celebrating 50 years of the Country Music Association Awards. The charity single became the first title by a non-solo act to debut at No. 1 on Hot Country Songs.

• 3 – When the title cut from her third studio set Dangerous Woman launched at No. 10 on the Hot 100 in April, Ariana Grande became the first artist in the chart’s 58-year history to debut in the top 10 with the lead single from each of her first three albums. “The Way” (featuring Mac Miller) and “Problem” (featuring Iggy Azalea) each previously launched in the region, ushering in 2013’s Yours Truly and 2014’s My Everything, respectively.

• 1 – From One Direction to an historic No. 1 on his own, Zayn, born in Bradford, West Yorkshire, England, became the only male U.K. soloist to debut at No. 1 on the Billboard 200 with a first album, when Mind of Mine started atop the April 16 list.

• 4 – Taylor Momsen-led quartet The Pretty Reckless became the first act to send its first four entries to No. 1 on the Mainstream Rock Songs airplay chart (which began in 1981), when “Take Me Down” rose 2-1 in November.

• 27 – Enrique Iglesias‘ record total of No. 1s on Hot Latin Songs. He padded his mark with “Duele El Corazon” (featuring Wisin), which led for 14 weeks beginning in May.

• 5 – Luke Bryan became the first artist to bank five No. 1s from two albums apiece on Country Airplay thanks to “Move,” the fifth leader from Kill the Lights. He first accomplished the feat with Crash My Party, which generated five No. 1s in 2013-15.

• 38 – Rae Sremmurd‘s “Black Beatles” (featuring Gucci Mane) made history ahead of its coronation on the Hot 100: when it rose 41-38, it passed The Carefrees’ “We Love You Beatles,” a No. 39 hit in 1964, as the highest-charting Beatles-inspired song (by another act) to namecheck the Fab Four in a song title.

• 71 – Characters (including spaces) in The 1975‘s first No. 1 on the Billboard 200, I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It, the most ever for a leading title on the tally.

• 9:57 – Similarly, late legend David Bowie charted the longest Hot 100 hit — by running time — with the No. 78-peaking “Blackstar,” the just-shy-of-10-minutes-long title cut from his final studio album.

Source: billboard.com

“Black Beatles,” featuring Gucci Mane, reigns for a fifth week, while “Bad Things” blasts 17-10.

Rae Sremmurd leads the Billboard Hot 100 (dated Dec. 24) for a fifth week with “Black Beatles,” featuring Gucci Mane. Meanwhile, Machine Gun Kelly and Camila Cabello‘s “Bad Things” bounds into the top 10, soaring from No. 17 to No. 10.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Beatles,” released on Interscope Records, continues atop the Hot 100, having first topped the tally sparked heavily by the momentum of its use in viral Mannequin Challenge videos. The first Hot 100 No. 1 for the brother duo of Khalif “Swae Lee” and Aaquil “Slim Jxmmi” Brown (and likewise the first leader for Gucci Mane), is the top-selling and most-streamed song of the week for a fifth week (and is the top gainer in airplay for a fourth frame).

“Beatles” leads the Streaming Songs chart with 38 million U.S. streams (down 10 percent), according to Nielsen Music. Of its streams for the week, 23.4 million were from YouTube and 9.6 million from Spotify. It also tops Digital Song Sales with 70,000 sold (down 16 percent). (Notably, the sum is the lowest for a Digital Song Sales No. 1 in nearly 11 years, since Beyonce’s “Check On It,” featuring Slim Thug, led the Jan. 28, 2006, chart with 61,000. Nielsen began tracking digital song sales in 2003.)

“Beatles” continues to build in airplay, as it pushes 9-8 on Radio Songs (87 million in audience, up 19 percent) and ranks at No. 1 on R&B/Hip-Hop Airplay for a fourth week (36 million in format audience, up 5 percent). The track tops Billboard’s Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a fifth week each.

The Weeknd‘s “Starboy,” featuring Daft Punk, spends a seventh (nonconsecutive) week at its No. 2 Hot 100 peak. It keeps at No. 2 on Radio Songs (120 million, down 4 percent), Digital Song Sales (60,000, up 13 percent) and Streaming Songs (30.7 million, down 8 percent), while leading On-Demand Streaming Songs for a third week (17.4 million, down 15 percent) and the Hot R&B Songs chart for an 11th week.

The Chainsmokers‘ “Closer,” featuring Halsey, holds at No. 3 on the Hot 100 after spending 12 weeks at No. 1, the longest rule of 2016. (Halsey was honored with the Rising Star award at Billboard’s 2016 Women in Music celebration Dec. 9, airing tonight, Dec. 12, at 9 p.m. ET on Lifetime.) “Closer” tops Radio Songs for an 11th week (133 million, down 4 percent), tying Justin Bieber‘s “Love Yourself” (11 weeks, February-May) for the airplay chart’s longest command this year (Adele’s “Hello” also posted 11 weeks at No. 1 on Radio Songs from November 2015 to February 2016). “Closer” holds at No. 4 on Streaming Songs (21.6 million, down 1 percent) and slips 5-7 on Digital Song Sales (43,000, down 5 percent). The track additionally tops Billboard’s Hot Dance/Electronic Songs chart for a 17th week.

Bruno Mars‘ “24K Magic” returns to its No. 4 high on the Hot 100 from No. 5. It stays at No. 4 on Digital Song Sales (52,000, up 12 percent); descends 3-5 on Radio Songs (117 million, down 1 percent); and lifts 10-8 on Streaming Songs (14.6 million, up 9 percent).

Rounding out the Hot 100’s top five, Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, slips to No. 5 from its No. 4 Hot 100 peak, although, as previously reported, it crowns the Pop Songs airplay chart, where it’s Grande’s second No. 1 (following “Problem,” featuring Iggy Azalea, in 2014) and Minaj’s first.

Zay Hilfigerrr & Zayion McCall remain at No. 6 on the Hot 100, after reaching No. 5 two weeks ago, with “Juju on That Beat (TZ Anthem)”; Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, hits a new high of No. 7, up from No. 8; DJ Snake‘s “Let Me Love You,” featuring Bieber, retreats 7-8, after peaking at No. 4; and Twenty One Pilots‘ “Heathens” is steady at No. 9, after ascending to No. 2, and rules Billboard’s Hot Rock Songs chart for an 18th week.

New to the top 10, Machine Gun Kelly earns his first top 10 and Cabello her first as a soloist, as “Bad Things” surges 17-10. Following the arrival of the song’s official video Dec. 1, and the pair’s performance of the song on NBC’s The Tonight Show Starring Jimmy Fallon the night before, the track roars 7-3 on Digital Song Sales (and 4-1 on Pop Digital Song Sales), up 45 percent to 58,000 sold. It also charges 30-12 on Streaming Songs (11.4 million, up 50 percent). On Radio Songs, it powers 27-20 (47 million, up 27 percent).

In his lone prior Hot 100 appearance, Kelly had spent a week at No. 98 (Jan. 28, 2012) with “Wild Boy,” featuring Waka Flocka Flame. Cabello had also made one previous solo visit: “I Know What You Did Last Summer,” with Shawn Mendes, reached No. 20 in January.

Before “Things,” Cabello hit the top 10 as part of Fifth Harmony, whose first top 10, “Work From Home,” featuring Ty Dolla $ign, peaked at No. 4 in June. Cabello, thus, joins an uncommon selection of soloists who have earned their first top 10 in the same year that they earned their first with a group. (Most often, unsurprisingly, soloists achieve a first top 10, if they do at all, of course, years after first reaching the region with a group, a la all four Beatles scoring top 10s several years after the group’s first in 1964, among numerous examples over the 58 years of the Hot 100’s history.)

Still, just last year, Diplo made his first trip to the top 10 with “Where Are U Now,” with Skrillex and featuring Bieber, while Major Lazer (of which Diplo is a third) followed in 2015 with the No. 4-peaking “Lean On,” with DJ Snake and featuring MO. (Among others, Jonas Brothers and Joe Jonas each first made the top 10 in 2008.)

Just beyond the Hot 100’s top 10, “Scars to Your Beautiful” by Alessia Cara, winner of the Rule Breaker award at Women in Music, hits a new high (15-13); Mariah Carey‘s seasonal classic “All I Want for Christmas Is You” dashes 23-17 (nearing its No. 11 peak, set last holiday season), while remaining atop the Holiday 100 chart; and, Rihanna‘s “Love on the Brain” leaps into the top 20 (30-20).

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Dec. 13), when all charts, including the Hot 100 in its entirety, will refresh.

Also: next week should bring a shakeup in the Hot 100’s upper reaches, as Zayn and Taylor Swift‘s new single, “I Don’t Wanna Live Forever,” is expected to blast in with a lofty debut (on the Dec. 31-dated Hot 100), following its first week of tracking after its Dec. 9 release. The collab from the former One Direction member and Swift is from the forthcoming Fifty Shades Darker soundtrack. As previously reported, the track debuts at No. 25 on the Dec. 24 Pop Songs airplay chart following its first three days of tracking.

In other solo 1D news, the group’s Louis Tomlinson should also debut with his new Steve Aoki team-up single “Just Hold On.” Check Billboard.com this week for projections of how much both “Forever” and “Hold” could sell and stream, and how much airplay they might draw, in their first full week each of tracking.

The all-star compilation album The Hamilton Mixtape debuts at No. 1 on the Billboard 200 chart, earning 187,000 equivalent album units in the week ending Dec. 8, according to Nielsen Music. Of that sum, 169,000 were in traditional album sales. The album — inspired by the runaway hit stage show Hamilton: An American Musical — consists of covers of songs from the show and songs inspired by the production. Among the guests on the album: Sia, John Legend, Kelly Clarkson, Andra Day, Wiz Khalifa, and many more.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 24-dated chart (where The Hamilton Mixtape bows at No. 1) will be posted in full to Billboard’s websites on Tuesday, Dec. 13.

The No. 1-arrival of The Hamilton Mixtape comes following the phenomenal success of the show that inspired the set: Hamilton: An American Musical. The 11-time Tony Award-winning show premiered off-Broadway on Jan. 20, 2015 and moved to Broadway later that year. The show is sold out on Broadway through July of 2017, while its Chicago production (which launched in previews on Sept. 27) is sold out through February of 2017.

The original Broadway cast recording of Hamilton peaked at No. 3 on the July 2-dated chart, and has spent 63 weeks (and counting) on the tally. On the latest chart, it moves 10-11 with 45,000 units (though it is up 33 percent). It was remarkably only the third cast recording to reach the top 10 in the last 50 years, following Hair (No. 1 for 13 weeks in 1969) and The Book of Mormon (No. 3 in 2011). The cast recording of Hamilton has so far sold 876,000 copies in the U.S., according to Nielsen Music, is the fifth-biggest selling album of 2016, and is the tenth-biggest selling cast recording since Nielsen began tracking sales in 1991.

The Hamilton Mixtape logs the largest sales week for a compilation album since 2012, when the GOOD Music Cruel Summer album debuted with 205,000 copies sold. The Hamilton Mixtape is also the first compilation to be No. 1 on the Billboard 200 in over two years, since Now 50 led for one week on the list dated May 24, 2014. Further, The Hamilton Mixtape is the first No. 1 compilation that isn’t a Now-branded album since the all-star live charity set, Hope for Haiti Now, spend one week at No. 1 on Feb. 6, 2010.

It’s rare for any compilation album that is not a Now-branded set to lead the Billboard 200. In the past 40 years, 24 compilations have reached No. 1, and Nowsets comprise 18 of those titles.

At No. 2 on the new Billboard 200, The Weeknd’s Starboy slips one rung to No. 2 in its second chart week, with 151,000 units (down 57 percent). Pentatonix’s A Pentatonix Christmas is pushed back a slot as well, to No. 3, with 128,000 units (down 2 percent).

The Rolling Stones rock at No. 4 with its new blues covers album, Blue & Lonesome, which debuts with 123,000 units (120,000 in traditional album sales). The set — which is the band’s first album of all-new recordings since 2005’s A Bigger Bang — marks the group’s record-extending 37th top 10 effort. (No act has earned more top 10 albums in the history of the chart.) It’s the band’s first new top 10 since A Bigger Bang debuted and peaked at No. 3 with 129,000 copies sold in its first week. (It was also the last album of new tunes written by the group.)

At No. 5 on the new Billboard 200, Childish Gambino earns his highest charting album ever, as Awaken, My Love! debuts with 101,000 units (72,000 in traditional album sales). It’s the second top 10 set for the act (also known as actor Donald Glover), following his last full-length album, 2014’s Because the Internet, which debuted and peaked at No. 7.

Bruno Mars’ 24K Magic falls 4-6 with with 58,000 units (down 20 percent), the soundtrack to Moana descends 5-7 with 53,000 units (down 20 percent) and Pentatonix’s That’s Christmas to Me slips 7-8 with 53,000 units (up 31 percent).

Rounding out the top 10 are two new entries to the chart: Grace VanderWaal’s Perfectly Imperfect EP at No. 9 with 52,000 units (47,000 in album sales) and Kane Brown’s debut full-length self-titled album at No. 10 with 51,000 units (45,000 in album sales).

The 12-year-old VanderWaal won the 11th season of the NBC competition program America’s Got Talent in September after wowing audiences with her self-written material, and was quickly signed by SYCO Music and Columbia Records after winning the show. Her EP features new studio recordings of songs heard on the show, including her breakthrough performance of “I Don’t Know My Name,” which has collected 47 million global views on YouTube through Dec. 11.

As for Brown, the country singer/songwriter’s new set marks his second top 10 effort, following his Closer EP back in April, which debuted and peaked at No. 9.

Source: billboard.com

Adele finishes 2016 in a familiar place: on top. Nearly five years after her last blockbuster album — 2011’s 21, which spent 24 weeks at No. 1 on the Billboard 200 — the 28-year-old British pop powerhouse returned as if she had never left, closing out 2016 as Billboard’s top artist for a record third time. (She previously ruled 2011 and 2012.)

2016 Year-End Charts: Hot 100 | Billboard 200 | Top Artists

Long breaks between albums seem only to confirm that Adele’s adoring fan base will spring for new music no matter when it arrives. Her third studio album, 25, hit shelves on Nov. 20, 2015, with a blend of epic ballads and soulful pop similar to that on her sophomore hit, 21, and easily conquered the Billboard 200, blasting in at No. 1 with a Nielsen Music-era (1991 to the present) record of 3.4 million copies sold in its first week. So far, those sales have climbed to 9.1 million and counting.

Click Here For All the 2016 Year-End Charts

The album’s runaway success 
is especially impressive — and indicative of Adele acolytes’ enduring loyalty — considering the fact that the singer initially shunned streaming services, denying 25 to Spotify until seven months after the album’s release. That didn’t hurt 25 one bit: It spent 10 weeks at No. 1 on the weekly Billboard 200 (a chart driven by both track and album sales plus streaming) and is far and away the chart’s year-end winner.

That Adele announced her
 return with one of the year’s most inescapable singles certainly helped her clinch 2016’s top charts prize. “Hello” felt like a nod to listeners who had stuck out the last five years, going on to rule both the Billboard Hot 100 (staying at No. 1 for 10 weeks) and the pop culture landscape (see the numerous Lionel Richie vs. Adele “Hello” memes, a viral “Carpool Karaoke” segment and a “Hello”-inspired Saturday Night Live skit, for starters).

The song closes out 2016 as 
the Hot 100’s year-end No. 8
 track — the second time Adele has finished within the top 10 on that list, following her No. 1 in 2011 with “Rolling in the Deep.” And it’s just one of 25’s triumphs: Two other tracks, “When We Were Young” 
and “Send My Love (To Your New Lover),” charted in the weekly Hot 100’s top 20, and Adele went on to sell out a world tour, raking in more than $150 million from 100-plus shows across Europe and North America and finishing the year as the No. 4 tour.

On the year-end Hot 100, another artist who stepped away from the pop world claims the top two songs: Justin Bieber, who released Purpose the same month as Adele’s 25, and more than three years after his previous studio effort, 2012’s Believe.

Thanks to a new tropical house-influenced sound and a trio of 2016’s most infectious singles, Bieber returned to pop as a bona fide superstar. Purpose topped the Billboard 200, and Bieber earned his first three No. 1 songs on the Hot 100, becoming only the third artist in the chart’s 58-year history to score its year-end top two songs (“Love Yourself ” and “Sorry”). The last act to achieve that? Bieber’s mentor, Usher, with “Yeah!” (featuring Lil Jon and Ludacris) and “Burn” in 2004, and, before him, The Beatles in 1964 with their debut hits “I Want to Hold Your Hand” and “She Loves You.”

Bieber’s return started strong in early 2015 with the Diplo and Skrillexcollaboration “Where Are U Now” (reaching No. 8 on the Hot 100). His first Hot 100 No. 1 followed that — Purpose lead single “What Do You Mean?” — and he continued to turn out hits throughout 2016: the Ed Sheeran co-write “Love Yourself ” and “Sorry” led the Hot 100 for two and three weeks, respectively.

While “Love Yourself” and “Sorry” may have logged relatively brief visits to the No. 1 slot, their lengthy runs inside the top 10 helped cement their year-end status: “Love Yourself” ranked in the top 10 for 24 weeks (only 18 songs have managed a run at least that long in the chart’s history), while “Sorry” scored 21 weeks in the region.

At No. 3 on the 2016 year-end Hot 100 roundup is Billboard’s official song of the summer, Drake’s “One Dance” featuring WizKid and Kyla. Drake pops up at No. 4 on the tally as well, as he’s the featured act on Rihanna’s “Work,” while Twenty One Pilots’ “Stressed Out” rounds out the top five. Thus, two artists – Bieber and Drake – place two songs each among the top four songs of the year. That feat last happened in 2009, when The Black Eyed Peas’ “Boom Boom Pow” and “I Gotta Feeling” were Nos. 1 and 4, bookending Lady Gaga’s “Poker Face” and “Just Dance” (featuring Colby O’Donis) at Nos. 2 and 3.

Twenty One Pilots lead the year-end top artists–duo/group category thanks to the duo’s Billboard 200-topping success with Blurryface and its smash singles. In fact, Twenty One Pilots became the first rock act to notch three Hot 100 top five hits in a year since INXS back in 1988. Bieber is the year’s top male, and Adele, of course, leads the way for the ladies. R&B/hip-hop artist Bryson Tiller is 2016’s top new artist, fueled by the 23-year-old’s debut studio album Trapsoul, which finishes at No. 11 on the year-end Billboard 200 list.

Billboard’s year-end music recaps are based on chart performance during
the span of Dec. 5, 2015, and Nov. 26, 2016. The year-end top artist category ranks the best-performing acts of the year derived from activity on the Billboard 200 albums tally and the Billboard Hot 100 singles list, as well as streaming, social and Billboard Boxscore data. Data registered before or after a title’s chart run is not considered in these standings. That methodology detail, and the December- to-November time period, account for some of the differences between these lists and the calendar-year recaps that are independently compiled by Nielsen Music.

Source: billboard.com

The track, featuring Gucci Mane, continues to reign, helped again by the Mannequin Challenge.

Rae Sremmurd rules the Billboard Hot 100 (dated Dec. 17) for a fourth week with “Black Beatles,” featuring Gucci Mane.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Beatles,” released on Eardrummer/Interscope Records, continues atop the Hot 100 with momentum again from its use in viral Mannequin Challenge videos (although it’s down 24 percent in overall Hot 100 chart points). The first Hot 100 No. 1 for the brother duo of Khalif “Swae Lee” and Aaquil “Slim Jxmmi” Brown (and likewise the first leader for Gucci Mane), is the top-selling and most-streamed song of the week for a fourth week (and is the top gainer in airplay for a third frame).

“Beatles” leads the Digital Song Sales chart with 83,000 downloads sold in the week ending Dec. 1, down 40 percent, according to Nielsen Music, and rules Streaming Songs with 42 million U.S. streams, down 25 percent. Of its streams for the week, 25.6 million were from YouTube and 10.7 million from Spotify. The track dips to No. 2 after three weeks atop the audio subscription services-based On-Demand Streaming Songs chart (16.1 million on-demand streams, down 27 percent).

“Beatles” is also adding airplay, as it soars into the top 10 (14-9) on Radio Songs (73 million in audience, up 25 percent) and holds at No. 1 on R&B/Hip-Hop Airplay (34 million in format audience, up 15 percent). The track tops Billboard‘s Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a fourth week each.

The Weeknd‘s “Starboy,” featuring Daft Punk, returns for a sixth week at its No. 2 Hot 100 peak (from No. 3), as his album of the same name soars in at No. 1 on the Billboard 200. The track keeps at No. 2 on Radio Songs (125 million, down 2 percent) and rebounds 3-2 on both Streaming Songs (33.4 million, up 18 percent) and Digital Song Sales (53,000, down 28 percent); in the prior tracking week, it was helped by The Weeknd’s performance of it on the American Music Awards (AMAs) Nov. 20. “Starboy” reverses course (3-1) for a second week atop On-Demand Streaming Songs (20.4 million, up 38 percent), while crowning the Hot R&B Songs chart for a 10th week.

Additionally, all 18 songs from Starboy chart on the Hot 100; with 18 total tracks on the Dec. 17 chart, The Weeknd posts the second-most simultaneous entries in the Hot 100’s 58-year history; only Drake tallied more at the same time: 20 on the May 21 chart. (Drake also charts 18 at once on the June 4 ranking.)

The Chainsmokers‘ “Closer,” featuring Halsey, dips 2-3 on the Hot 100 after spending 12 weeks at No. 1, the longest rule of 2016. “Closer” tops Radio Songs for a 10th week (139 million, down 5 percent), passing OutKast’s “Hey Ya!,” which spent nine weeks at No. 1 in 2003-04, for the longest reign by a duo in the chart’s 26-year history. (Among all acts, Goo Goo Dolls’ “Iris” has spent the most time atop Radio Songs: 18 weeks, in 1998.) “Closer” is the second song in 2016 to lead Radio Songs for at least 10 weeks: Justin Bieber’s “Love Yourself” logged an 11-week command in February-May.

“Closer” holds at No. 4 on Streaming Songs (21.9 million, down 17 percent) and slips 4-5 on Digital Song Sales (46,000, down 37 percent; it was also boosted in the prior tracking week by The Chainsmokers and Halsey’s AMAs performance).

“Closer” additionally controls Billboard’s Hot Dance/Electronic Songs chart for a 16th week and tops Pop Songs for an 11th week, tying four other hits for the second-longest domination in the airplay chart’s 24-year history; Ace of Base’s “The Sign” holds the record with 14 weeks at No. 1 in 1994.

Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, returns to its No. 4 Hot 100 highpoint, from No. 6. It remains at No. 5 on Radio Songs (114 million, up 4 percent), while falling 6-7 on Streaming Songs (15.9 million, down 17 percent) and 6-8 on Digital Song Sales (39,000, down 37 percent).

Rounding out the Hot 100’s top five, Bruno Mars‘ “24K Magic” descends to No. 5 on the Hot 100 from its No. 4 peak, highlighted by its 4-3 push on Radio Songs 118 million, up 6 percent). It drops 2-4 on Digital Song Sales (46,000, down 41 percent) and 7-10 on Streaming Songs 13.5 million, down 21 percent). Like “Starboy” and “Closer,” “Side” and “Magic” were both helped in the prior week by Grande and Minaj’s, and Mars’, AMAs performances, respectively).

Zay Hilfigerrr & Zayion McCall backtrack to No. 6 on the Hot 100 after reaching No. 5 a week ago with “Juju on That Beat (TZ Anthem)”; DJ Snake‘s “Let Me Love You,” featuring Bieber, rises 8-7 after peaking at No. 4; Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, hits a new No. 8 high, up from No. 10; Twenty One Pilots‘ “Heathens” drops 7-9, after climbing to No. 2, and rules Billboard’s Hot Rock Songs chart for a 17th week; and D.R.A.M.‘s No. 5-peaking “Broccoli,” featuring Lil Yachty, slips 9-10.

Just beyond the Hot 100’s top 10, Hailee Steinfeld and Grey’s “Starving,” featuring Zedd, rises to a new peak (13-12); Machine Gun Kelly and Camila Cabello‘s “Bad Things” bounds 28-17, becoming the first top 20 entry for Kelly and the second, and highest-charting, for Cabello (apart from Fifth Harmony), following her No. 20-peaking “I Know What You Did Last Summer,” with Shawn Mendes, in January. Plus, Mariah Carey‘s seasonal classic “All I Want for Christmas Is You” re-enters at No. 23, while remaining atop the Holiday 100 chart.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Dec. 6), when all charts, including the Hot 100 in its entirety, will refresh. The Hot 100 and a host of year-end rankings will appear in the next issue of Billboard magazine, while additional year-end tallies will post on Billboard.com later this week.

The Weeknd blasts in at No. 1 on the Billboard 200 chart with his new album, Starboy, earning 348,000 equivalent album units in the week ending Dec. 1, according to Nielsen Music. That’s the third-largest debut of 2016, behind only the arrivals of Drake’s Views (1.04 million units) and Beyonce’s Lemonade(653,000). Of the Weeknd’s overall start, 209,000 were in traditional album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 17-dated chart (where The Weeknd bows at No. 1) will be posted in full to Billboard’s websites on Tuesday, Dec. 6.

Starboy, the Weeknd’s second Billboard 200 No. 1, was released on Nov. 25 through XO/Republic Records and is the follow-up to his first leader, Beauty Behind the Madness. The new set was initially released commercially as a download and through streaming services. Its CD release followed three days later on Nov. 28.

Starboy’s debut got a jolt from streaming equivalent album units, as a whopping 117,000 of its total unit sum were driven by streaming units (equaling 175.2 million streams of Starboy’s songs in the week). That’s the second-largest debut streaming week ever, following Drake’s Views, which clocked 163,000 streaming units in its opening frame (equating to 245.1 million streams of songs from the album that week).

Starboy is only the second album to surpass 100,000 streaming equivalent album units in a single week, following Drake’s set. Views actually did it three times: during its debut week, along with its third (124,000) and fourth (111,000) frames.

Previous to Starboy’s release and following its bow, the Weeknd offered some high-profile TV performances on Saturday Night Live (Oct. 1), the MTV Europe Music Awards (Nov. 6), the American Music Awards (Nov. 20), The Tonight Show Starring Jimmy Fallon (Nov. 24) and The Ellen DeGeneres Show (Nov. 28). He also sat down for interviews with Zane Lowe on Apple Music’s Beats 1 (Nov. 24), The Wall Street Journal (Nov. 2) and The New York Times (Nov. 28). Meanwhile, the set’s title-cut lead single has so far peaked at No. 2 (for five weeks) on the Billboard Hot 100 and led the Hot R&B/Hip-Hop Songs chart for six weeks.

At No. 2 on the new Billboard 200, Pentatonix’s A Pentatonix Christmas rises two spots with 131,000 units (up 29 percent). Last week’s No. 1 debut, Metallica’sHardwired… to Self-Destruct, dips 1-3 with 75,000 units (down 74 percent) and Bruno Mars’ 24K Magic slips 2-4 in its second week with 73,000 units (down 68 percent).

The Moana soundtrack vaults 16-5 with 66,000 units (up 153 percent), granting Walt Disney Records its highest charting album since the Star Wars: The Force Awakenssoundtrack peaked at No. 5 for one week on the Jan. 9-dated list. Moana’s huge gain is owed to the film’s release in U.S. theaters on Nov. 23, two days before the chart’s latest tracking week began (on Nov. 25).

Another animated film soundtrack, Trolls, holds steady at No. 6 with 53,000 units (down one percent).

Two holiday albums jump back into the top 10, as Pentatonix’s That’s Christmas to Me and Michael Buble’s Christmas return. The former rises 12-7 with 40,000 units (up 38 percent) and the latter vaults 19-8 with slightly less than 36,000 units (up 57 percent). As the two titles join Pentatonix’s latest holiday set at No. 2, there are three Christmas albums in the top 10 for the first time in nearly two years. It last happened on the Dec. 20, 2014-dated list, when That’s Christmas to Me ranked at No. 2, followed by Idina Menzel’s Holiday Wishes at No. 6 and Buble’s Christmas at No. 7.

Rounding out the new top 10 is Miranda Lambert’s The Weight of These Wings, which falls 3-9 with 36,000 units (down 73 percent) in its second week and the original Broadway cast recording of Hamilton, which dips one rung to No. 10 with 34,000 units (down 11 percent).

The track, featuring Gucci Mane, continues to gain in streams, helped again by the Mannequin Challenge. Plus, Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” jumps into the top five, powered in part by its own viral challenge.

Rae Sremmurd tops the Billboard Hot 100 (dated Dec. 10) for a third week with “Black Beatles,” featuring Gucci Mane.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Beatles,” released on Eardrummer/Interscope Records, continues atop the Hot 100 with momentum again from its use in viral Mannequin Challenge videos. The phenomenon seemingly began with an Oct. 26 tweet showing students at Jacksonville, Florida’s Edward H. White High School in mannequin poses; while that clip didn’t feature music, “Beatles” has found synchs in an onslaught of subsequent videos.

“Beatles,” the first Hot 100 No. 1 for the brother duo of Khalif “Swae Lee” and Aaquil “Slim Jxmmi” Brown (and likewise the first leader for Gucci Mane), is the top-selling and most-streamed song of the week for a third week (and is the top gainer in airplay for a second frame). It leads the Digital Song Sales chart with 138,000 downloads sold in the week ending Nov. 24, down 11 percent, according to Nielsen Music, and rules Streaming Songs with 55.9 million U.S. streams, up 3 percent. Of its streams for the week, 33.5 million were from YouTube clicks and 14.3 million from Spotify. The track also tops Billboard’s audio subscription services-based On-Demand Streaming Songs chart for a third week (22.1 million on-demand streams, down 13 percent).

The total U.S. streams for “Beatles” for the week mark another new high for the track and are the most for a song since Adele’s “Hello” logged 61.6 million upon its debut on the Streaming Songs chart dated Nov. 14, 2015. Meanwhile, until “Beatles” the last two weeks, no title had reached 50 million in consecutive weeks since Baauer’s “Harlem Shake” logged three in a row in March 2013, aided greatly by user-generated clips featuring the song’s audio.

“Beatles” is also growing quickly in airplay, as it bounds 28-14 on Radio Songs (58 million in audience, up 43 percent) and holds at No. 1 on R&B/Hip-Hop Airplay (29 million in format audience, up 25 percent). The track tops Billboard’s Hot R&B/Hip-Hop Songs chart and Hot Rap Songs for a third week each.

The Chainsmokers‘ “Closer,” featuring Halsey, holds at No. 2 on the Hot 100 after 12 spending weeks at No. 1, the longest domination of 2016. Following their performance of the song on the American Music Awards (AMAs) Sunday, Nov. 21, “Closer” boasts a 25 percent gain to 73,000 downloads sold (although it slips 3-4 on Digital Song Sales), while drawing 26.4 million streams (up 1 percent; it dips 2-4 on Streaming Songs).

Meanwhile, “Closer” controls Radio Songs for a ninth week (146 million, essentially even week-over-week), tying OutKast’s “Hey Ya!,” which spent nine weeks on top in 2003-04, for the longest rule by a duo in the chart’s 26-year history. (Among all acts, Goo Goo Dolls’ “Iris” has spent the most time atop Radio Songs: 18 weeks in 1998.)

“Closer” additionally tops Pop Songs for a 10th week, joining Robin Thicke’s “Blurred Lines,” featuring T.I. and Pharrell (10 weeks at No. 1, 2013), as the only songs to lead the mainstream top 40-based airplay chart for double-digit weeks since Mariah Carey’s “We Belong Together” (10 weeks) in 2005; Ace of Base’s “The Sign” holds the record for the longest Pop Songs reign: 14 weeks in 1994. “Closer” also passes “Hey Ya!” (nine weeks at No. 1) for the longest run at No. 1 for a duo ever on Pop Songs.

“Closer” also logs a 15th week at No. 1 on Billboard’s Hot Dance/Electronic Songs chart.

The Weeknd‘s “Starboy,” featuring Daft Punk, is stationary at No. 3 on the Hot 100, after peaking at No. 2 for five weeks. The song, also performed on the AMAs, gains by 14 percent to 28.3 million streams, as it holds at No. 3 on Streaming Songs. It keeps at No. 2 on Radio Songs (127 million, essentially on par with the prior week’s total) and drops 2-3 on Digital Song Sales (75,000, down 11 percent; in the previous tracking week, it was helped by 69-cent iTunes Store sale-pricing). “Starboy,” which crowns the Hot R&B Songs chart for a ninth week, is the title cut from The Weeknd’s new album, released Friday (Nov. 25) and due on next week’s charts.

Bruno Mars‘ “24K Magic” rises 6-4 on the Hot 100, reaching a new peak (passing its prior No. 5 high first set upon its debut six weeks ago). Mars performed the song on the AMAs (the night’s first performance), helping spur its 4-2 lift on Digital Song Sales (79,000, up 38 percent; good for the top digital sales gainer award on the Hot 100) and 10-7 trek on Streaming Songs (17 million, up 40 percent). On Radio Songs, it climbs 5-4 (112 million, up 4 percent). The song is the lead single and title track from Mars’ third LP, which debuts at No. 2 on the Billboard 200 (231,000 equivalent album units).

Rounding out the Hot 100’s top five, Zay Hilfigerrr & Zayion McCall zoom 8-5 on the Hot 100 with “Juju on That Beat (TZ Anthem),” hitting a new peak and reaching the top five for the first time (and earning the top streaming gain on the chart). Leading the way, the track pushes 4-2 on Streaming Songs, up by 46 percent to 35.1 million, fueled by a rise in user-generated TZ Anthem Challenge videos featuring the song’s audio, with notable spikes on Thanksgiving (Nov. 24). Also adding buzz, the day before (Nov. 23), the Detroit duo performed “Juju” at halftime of the Detroit Pistons’ NBA game; the pair then performed it the next day (Nov. 24) during halftime of the Detroit Lions’ annual NFL Thanksgiving game (although the performance was not televised).

On Digital Song Sales, the track retreats 13-16, but with a 10 percent gain to 36,000; it continues to bubble under Radio Songs (17 million, down 2 percent).

Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, falls from its No. 4 Hot 100 high to No. 6, although it, too, gains following their AMAs performance of the song. The song increases by 14 percent to 19.2 million streams (and holds at No. 6 on Streaming Songs) and 20 percent to 61,000 sold (slipping 5-6 on Digital Song Sales), while rising 6-5 on Radio Songs (109 million, up 13 percent).

Twenty One Pilots‘ “Heathens” drops 5-7 on the Hot 100, after reaching No. 2, and rules Billboard’s Hot Rock Songs chart for a 16th week; DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, falls 7-8 after peaking at No. 4; D.R.A.M.‘s No. 5-peaking “Broccoli,” featuring Lil Yachty, keeps at No. 9; and Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, stays at No. 10 after reaching No. 9. “Heathens” (45,000, up 7 percent), “Let” (48,000, up 12 percent) and “Know” (72,000, up 64 percent) all gain in sales following AMAs performances.

Just beyond the Hot 100’s top 10, Hailee Steinfeld and Grey’s “Starving,” featuring Zedd, rises to a new peak (15-13; helped by a 69-cent sale tag in the iTunes Store); Alessia Cara‘s “Scars to Your Beautiful” climbs 17-15; and X Ambassadors‘ “Unsteady” reaches the top 20 (21-20) in its 28th week on the chart.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Nov. 22), when all charts, including the Hot 100 in its entirety, will refresh. The Hot 100 and other rankings will also appear in the next issue of Billboard magazine, on sale Friday (Dec. 2).

Source: billboard.com

Metallica scores its sixth No. 1 album on the Billboard 200 chart with the arrival of Hardwired… to Self-Destruct. The set debuts atop the list with 291,000 equivalent album units earned in the week ending Nov. 24, according to Nielsen Music. Of that sum, 282,000 were in traditional album sales. Hardwired was released on Metallica’s own Blackened Records on Nov. 18.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 10-dated chart (where Metallica launches at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 29.

Hardwired’s start is the third-largest debut of 2016 — both in terms of overall units and traditional album sales — behind only the arrivals of Drake’s Views(1.04 million units; 852,000 in sales) and Beyonce’s Lemonade (653,000 units; 485,000 sales).

Further, Hardwired sold more in its first week than any rock album in two-and-a-half years. The last rock album to sell more in a single week was Coldplay’s Ghost Stories, which bowed with 382,000 copies sold on the chart dated June 7, 2014.

Hardwired is Metallica’s first studio album since 2008’s Death Magnetic, which also bowed at No. 1, with 490,000 copies sold in its first week. Metallica’s last six studio albums, stretching back to its self-titled album (usually referred to as The Black Album) in 1991, have debuted at No. 1. Before Death Magnetic, the band topped the chart with St. Anger (in 2003), Reload (1997), Load (1996) and Metallica (1991).

Following Death Magnetic, the group released a collaborative album with Lou Reed (Lulu in 2011, which peaked at No. 36), an EP (Beyond Magnetic in 2012, No. 29) and the soundtrack to the documentary Metallica: Through the Never(2013; No. 9).

Hardwired was led at radio by its title track, which became the band’s eighth No. 1 on the Mainstream Rock Songs airplay chart (Oct. 8). The track also hit No. 9 on the Hot Rock Songs chart.

Hardwired also bows at No. 1 on the Independent Albums chart, as the set is distributed by Alternative Distribution Alliance, the indie distribution arm of Warner Music Group. Metallica had previously released its music through Warner Music’s Elektra Records (beginning in 1984) and then later through Warner Bros. Records. The band renegotiated its contract with Warner Music in 1994, and that contract expired in 2012. As part of that deal, the act walked away from Warner Music with its master recordings — like their mega-selling 1991 self-titled album — which the group has since reissued on Blackened Records.

At No. 2 on the new Billboard 200, Bruno Mars’ 24K Magic debuts with 231,000 units (194,000 in traditional album sales — Mars’ best sales week yet). It’s his third studio album, and all three have debuted in the top three on the chart.

24K Magic follows 2012’s Unorthodox Jukebox, which opened at No. 2 with 192,000 in sales and reached No. 1 the following year. Before that, Mars’ debut full-length set, 2010’s Doo-Wops & Hooligans, bowed and peaked at No. 2 (55,000 in its first week, later seeing its best frame over Christmas of that year: 84,000). The albums have sold 2.51 and 2.54 million copies, respectively, to date.

24K Magic’s title track (and lead single) gave Mars his 13^th top 10 hit on the Billboard Hot 100 chart, and has so far peaked at No. 5.

As Metallica and Mars both bow with more than 200,000 units for their respective albums, it marks the first time two albums have simultaneously launched with at least 200,000 in a year. (We’ve had a number of albums bow with 200,000 or more in 2016 — like Drake’s Views and Beyonce’s Lemonade — but they all arrived in separate weeks.) It last happened on the Dec. 5, 2015-dated chart, when Justin Bieber‘s Purpose bowed at No. 1 with 645,000 (522,000 in sales) and One Direction‘s Made in the A.M. debuted at No. 2 with 459,000 (402,000 in sales).

Next up on the new Billboard 200, Miranda Lambert notches the highest charting country album from a female artist in more than a year, as her new The Weight of These Wings debuts at No. 3 with 133,000 units (122,000 in traditional album sales). The last woman to rank higher on the chart with a country album was Carrie Underwood, who saw her Storyteller album spend its first two weeks on the chart at No. 2 (Nov. 14-21, 2015). It was also the last country album by a woman to launch with a bigger unit total and sales start: 177,000 units and 164,000 copies sold.

The Weight of These Wings, a double album, is Lambert’s sixth studio effort. It’s her fifth consecutive top 10-charting album, following Platinum (No. 1 in 2014), Four the Record (No. 3, 2011), Revolution (No. 8, 2009) and Crazy Ex-Girlfriend(No. 6, 2007). Her first album, Kerosene, debuted and peaked at No. 18 in 2005.

The new album’s first single, “Vice,” reached No. 2 on the Hot Country Songs chart back in August, marking Lambert’s 13^th top 10 hit.

As Metallica, Mars and Lambert all launch with more than 100,000 copies sold of their albums, it’s the first time in a year that three titles have each concurrently debuted with 100,000 sold. It last happened on the Dec. 5, 2015-dated chart, when Bieber’s Purpose and One Direction’s Made in the A.M. bowed at Nos. 1 and 2 with 522,000 and 402,000 copies sold, respectively, followed by Logic’s The Incredible True Story, which bowed at No. 3 with 118,000 sold.

Back on the new Billboard 200, Pentatonix’s A Pentatonix Christmas dips 2-4 with 101,000 units (though it’s up 80 percent) and A Tribe Called Quest’s We Got it From Here… Thank You 4 Your Service falls 1-5 in its second week (59,000 units, down 56 percent). The soundtrack to Trolls moves 3-6 with 53,000 units (up 12 percent) while Garth Brooks and Trisha Yearwood’s collaborative holiday album, Christmas Together, rises 11-7 with 39,000 units (up 84 percent). The latter set gives Brooks his 17^th top 10 album, and Yearwood her third (and first since 2005’s No. 4-peaking Jasper County).

Rounding out the top 10 are Rae Sremmurd’s Sremmlife 2 (4-8 with a little more than 38,000 units, down 11 percent), the original Broadway cast recording of Hamilton (6-9 with 38,000 units, up 24 percent) and Drake’s Views (5-10 with 34,000 units, up 8 percent). Hamilton likely rises thanks to publicity generated by the brouhaha over vice president-elect Mike Pence’s visit to the show on Nov. 11.

Source: billboard.com