Charts To Post

[thebigham]

KHALID
Title: AMERICAN TEEN
Certification Date: March 3, 2022
Label: RIGHT HAND MUSIC / RCA
Format: ALBUM
4x Platinum

LIL BABY
Title: MY TURN
Certification Date: February 28, 2022
Label: QUALITY CONTROL / MOTOWN RECORDS
Format: ALBUM
4x Platinum

CHRIS LANE
Title: LAPS AROUND THE SUN
Certification Date: February 28, 2022
Label: BIG LOUD RECORDS
Format: ALBUM
Gold

JAKE OWEN
Title: GREETINGS FROM… JAKE
Certification Date: February 28, 2022
Label: BIG LOUD RECORDS
Format: ALBUM
Gold

DJ KHALED
Title: KHALED KHALED
Certification Date: February 23, 2022
Label: EPIC / WE THE BEST
Format: ALBUM
Platinum

TYLER, THE CREATOR
Title: CALL ME IF YOU GET LOST
Certification Date: February 22, 2022
Label: COLUMBIA
Format: ALBUM
Gold

LIL PEEP
Title: COME OVER WHEN YOU'RE SOBER, PT. 2
Certification Date: February 21, 2022
Label: COLUMBIA
Format: ALBUM
Platinum

LIL NAS X
Title: MONTERO
Certification Date: February 18, 2022
Label: COLUMBIA
Format: ALBUM
Platinum

LIL NAS X
Title:7 EP
Certification Date:February 18, 2022
Label:COLUMBIA
Format:SHORT FORM ALBUM - Look!!
2x Platinum

POLO G
Title: THE GOAT
Certification Date: February 18, 2022
Label: COLUMBIA
Format: ALBUM
2x Platinum

THE KID LAROI
Title: F*CK LOVE
Certification Date: February 18, 2022
Label: COLUMBIA
Format: ALBUM
2x Platinum

[thebigham]

www.billboard.com/music/chart-beat/encanto-billboard-200-chart-number-one-eighth-week-1235040129/

‘Encanto’ Enchants Billboard 200 Albums Chart With Eighth Week at No. 1
By Keith Caulfield
03/6/2022

Plus: Kodak Black, Tears for Fears and Avril Lavigne debut in top 10.


The Encanto soundtrack enchants in the No. 1 slot on the Billboard 200 chart (dated March 12) for an eighth nonconsecutive week. The set earned 80,000 equivalent album units in the U.S. in the week ending March 3 (down 11%), according to MRC Data.

In the last five years, only three albums have spent at least eight weeks at No. 1 on the Billboard 200: Encanto, Morgan Wallen’s Dangerous: The Double Album (10 weeks), and Taylor Swift’s Folklore (eight weeks).


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 MRC Data. 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 March 12, 2022-dated chart will be posted in full on Billboard‘s website on March 8. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.

Of Encanto’s 80,000 equivalent album units earned, SEA units comprise 68,000 (down 11%, equaling 101.16 million on-demand official streams of the set’s songs), album sales comprise 10,000 (down 16%) and TEA units comprise 2,000 (down 10%).

Kodak Black collects his fourth top five-charting album on the Billboard 200, as his latest release, Back for Everything, bows at No. 2 with 60,000 equivalent album units earned. Of that sum, SEA units comprise 57,000 (equaling 84 million on-demand official streams of the set’s tracks), album sales comprise 3,000 and TEA units comprise a negligible sum.

The new album was preceded by the hit single “Super Gremlin,” which has reached No. 5 on the Billboard Hot 100 chart (dated Jan. 29) — the rapper’s highest charting song unaccompanied by another act. (He’s charted higher only with “ZEZE,” featuring Travis Scott and Offset, which peaked at No. 2 in 2018.)

Kodak Black notched his first Billboard 200 No. 1 with his prior top 10, Dying to Live, in 2018.

Morgan Wallen’s former No. 1 Dangerous: The Double Album is stationary at No. 3, with 42,000 equivalent album units (up 3%).

Dangerous: The Double Album has now accumulated 59 nonconsecutive weeks in the top 10 on the Billboard 200 — surpassing Taylor Swift’s Fearless for the most weeks in the top 10 among country albums in the chart’s history. Fearless clocked 58 weeks in the region in 2008-10.

Among all albums released since 2000, Dangerous ties Swift’s 1989 for the second-most weeks in the top 10, trailing only Adele’s 21, which captured 84 weeks in the region.

Gunna’s former No. 1 DS4Ever falls from No. 2 to No. 4 with 38,000 equivalent album units (down 9%),

The Weeknd’s compilation The Highlights dips 4-5 with 34,000 units (though up 3%),

Drake’s chart-topping Certified Lover Boy rises 7-6 with 32,000 units (down less than 1%) and

Olivia Rodrigo’s former leader Sour falls 5-7 with just over 31,000 units (down 2%).

Tears for Fears hit the top 10 for the first time in more than 30 years, as the act’s new album, The Tipping Point, debuts at No. 8 — the duo’s highest debut ever. The set is Tears for Fears’ first new studio album since 2004’s Everybody Loves a Happy Ending, and first top 10 since 1989’s The Seeds of Love peaked at No. 8. In total, The Tipping Point is the third top 10 album on the Billboard 200 for the duo (Roland Orzabal and Curt Smith) — the act also spent five weeks at No. 1 in 1985 with Songs From the Big Chair.

The new album’s title track peaked at No. 17 on Billboard’s Adult Alternative Airplay chart in January. The Tipping Point was ushered in with performances by Tears for Fears on ABC’s Good Morning America (Feb. 22), CBS’ The Late Show With Stephen Colbert (Feb. 24) and a feature on CBS’ Sunday Morning (Feb. 20).

The Tipping Point launches with 31,000 equivalent album units earned. Of that sum, album sales comprise 29,000 (making it the top-selling album of the week); SEA units comprise 1,500 (equaling 2.04 million on-demand official streams of the set’s tracks) and TEA units comprise about 500 units.

Avril Lavigne is back in the top 10 on the Billboard 200 for the first time since 2013, as her new album, Love Sux, bows at No. 9.

Love Sux is Lavigne’s sixth top 10 effort overall on the Billboard 200, and all seven of her chart entries have reached the top 15. 2022 marks Lavigne’s 20th anniversary on the chart, as well — her debut effort, Let Go, entered the list dated June 22, 2002, at No. 8, and peaked at No. 2 on the Sept. 28, 2002, chart. She boasts two No. 1s: Under the Skin (2004) and The Best d**n Thing (2007). She had last appeared in the top 10 with her No. 5-peaking eponymous set in 2013.

Love Sux starts with 30,000 equivalent album units earned. Of that sum, album sales comprise 19,000; SEA units comprise nearly 10,000 (equaling 12.61 million on-demand official streams of the set’s tracks) and TEA units comprise 1,000.

Rounding out the top 10 on the Billboard 200 is Doja Cat’s Planet Her, which falls 8-10 with 29,000 equivalent album units earned (up less than 1%).

[thebigham]

www.billboard.com/music/chart-beat/tears-for-fears-tipping-point-number-one-debut-top-album-sales-chart-1235040212/

Tears for Fears’ ‘The Tipping Point’ Debuts at No. 1 on Billboard’s Top Album Sales Chart
Plus, Avril Lavigne and Scorpions bow in top 10.


By Keith Caulfield

03/7/2022
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Tears for Fears’ The Tipping Point debuts at No. 1 on Billboard’s Top Album Sales chart (dated March 12), selling 29,000 copies in the U.S. in the week ending March 3, according to MRC Data. It’s the best sales week for the duo (Roland Orzabal and Curt Smith) since MRC Data began tracking sales in 1991.

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Avril Lavigne

Machine Gun Kelly

Scorpions
The Tipping Point is Tears for Fears’ first new studio album since 2004’s Everybody Loves a Happy Ending.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new March 12-dated chart will be posted in full on Billboard‘s website on March 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.



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Of The Tipping Point’s 29,000 copies sold in the week end March 3, physical sales comprise 21,500 (12,000 on CD; 9,500 on vinyl and a negligible sum on cassette) and digital sales comprise 7,500. Sales were bolstered by the availability of multiple physical format variants of the album, including a Target-exclusive CD and vinyl LP (each with two bonus tracks).

The Tipping Point was ushered in with performances by Tears for Fears on ABC’s Good Morning America (Feb. 22) and CBS’ The Late Show With Stephen Colbert (Feb. 24), a feature on CBS’ Sunday Morning (Feb. 20) and a profile on NPR’s Weekend Edition (Feb. 26).

The Tipping Point is the first top 10 for Tears for Fears on the 30-year-old Top Album Sales chart. It also launches at No. 8 on the Billboard 200, marking the third top 10 for the band on that older list, following The Seeds of Love (No. 8 in 1989) and Songs From the Big Chair (No. 1 for five weeks in 1985).

The Tipping Point also debuts at No. 1 on Top Alternative Albums, Top Rock Albums and Top Current Album Sales.

Top Alternative Albums and Top Rock Albums rank the week’s most popular alternative and rock releases, respectively, by equivalent album units. Top Current Album Sales ranks the week’s biggest selling current albums (not including catalog – older – releases).


Avril Lavigne’s new Love Sux debuts at No. 2 on Top Album Sales with 19,000 copies sold, marking the seventh consecutive top five-charting effort for Lavigne (the entirety of her charting releases). Love Sux is her highest charting title on Top Album Sales since The Best d**n Thing spent two weeks at No. 1 in 2007. (She also previously led the list for one week with Under My Skin in 2004.)

Sturgill Simpson’s The Ballad of Dood & Juanita re-enters Top Album Sales at No. 3 following its release on vinyl LP on Feb. 25. The album was previously only available to purchase on CD and as a digital download.

In total, the album sold 14,000 copies in the U.S. in the week ending March 3 (up 8,927%), with a little over 13,000 on vinyl LP. It also debuts at No. 1 on the Vinyl Albums chart – Simpson’s fourth leader. Ballad was issued on three vinyl variants – a standard black edition, a brown colored pressing exclusive to Vinyl Me Please and a clear vinyl edition (dubbed “natural” colored) with expanded packaging available via independent record stores.

The Ballad of Dood & Juanita debuted at No. 6 on the Sept. 4, 2021-dated Top Album Sales chart and spent two weeks on the list, before re-entering the new chart.

Veteran band Scorpions arrive at No. 4 on Top Album Sales with its new release Rock Believer, selling 12,000 copies. It’s the highest charting effort for the group on the 30-year-old Top Album Sales chart. Over on the Billboard 200, the set begins at No. 59, marking the 20th charting effort for the band, and highest charting title since 2010’s Sting in the Tail debuted and peaked at No. 23.

The chart-topping Encanto soundtrack falls 3-5 on Top Album Sales with 10,000 sold (down 16%), Adele’s former leader 30 dips 4-6 with 8,000 (down 6%) and Olivia Rodrigo’s No. 1 Sour descends 5-7 with 7,000 (down 2%).


The Pokemon 25: The Album compilation re-enters the chart at No. 8 following its release on vinyl LP. It sold 6,000 copies in total for the week (up 6,034%), nearly all on vinyl. It also bows at No. 3 on the Vinyl Albums chart.

Fleetwood Mac’s Rumours falls 7-9 on Top Album Sales with nearly 6,000 sold (down 11%). Machine Gun Kelly’s Tickets to My Downfall re-enters the list at No. 10 with nearly 6,000 sold (up 2,314%) following its release on pink-colored vinyl exclusively via Walmart stores. Tickets debuts at No. 5 on the Vinyl Albums chart.

In the week ending March 3, there were 1.727 million albums sold in the U.S. (up 4.8% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.332 million (up 5.7%) and digital albums comprised 395,000 (up 1.7%).

There were 621,000 CD albums sold in the week ending March 3 (up 8.1% week-over-week) and 701,000 vinyl albums sold (up 3.9%). Year-to-date CD album sales stand at 5.48 million (down 8.5% compared to the same time frame a year ago) and year-to-date vinyl album sales total 6.325 million (down 2%).

Overall year-to-date album sales total 15.535 million (down 7.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 11.883 million (down 5%) and digital album sales total 3.652 million (down 16%).

[thebigham]

www.billboard.com/music/chart-beat/glass-animals-heat-waves-number-one-billboard-hot-100-1235040322/

Glass Animals’ ‘Heat Waves’ Completes Record Run to No. 1 on Billboard Hot 100
By Gary Trust
03/7/2022

The song reigns in 59th week on the Hot 100, having conquered platforms from TikTok to radio.

A song released in 2020, and about late nights in the middle of June, reaches No. 1 on the Billboard Hot 100 chart in March 2022.

Glass Animals‘ “Heat Waves” hits No. 1 on the Hot 100, completing a record-breaking rise to the summit, leading in its 59th week on the chart. It shatters the prior mark of 35 weeks on the survey needed to reign, set by Mariah Carey’s “All I Want for Christmas Is You” in December 2019.

Over its unprecedented run, “Heat Waves” has ruled multiple radio formats and become prominent on TikTok and streaming services.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 12, 2022) will update on Billboard.com tomorrow (March 8). For all chart news, you can follow Billboard and Billboardcharts on both Twitter and Instagram.

“Heat Waves,” released on Wolf Tone/Polydor/Republic Records, becomes the 1,134th No. 1 in the Hot 100’s 63-year history. It’s the first leader (and entry) on the chart for the quartet, which comprises Dave Bayley, Edmund Irwin-Singer, Drew MacFarlane and Joe Seaward. The band is nominated for the best new artist Grammy Award this year; it formed in Oxford, England, in 2010 and first appeared on Billboard‘s charts in 2014.

Here’s an in-depth look at the song’s record-rewriting Hot 100 coronation.

Airplay, streams & sales: “Heat Waves” drew 66.7 million radio airplay audience impressions (down 3%) and 14.8 million U.S. streams (up 1%) and sold 2,900 downloads (down 4%) in the Feb. 25-March 3 tracking week, according to MRC Data.

The single holds at its No. 2 high on the Radio Songs chart, rebounds, 6-5, to its best rank on Streaming Songs and dips 23-25 on Digital Song Sales, where it reached No. 13.

Record run to No. 1: “Heat Waves” tops the Hot 100 in its 59th week on the chart, soaring past the prior mark for the lengthiest climb to No. 1.

Longest Climbs to No. 1 on the Billboard Hot 100
59 weeks, “Heat Waves,” Glass Animals, hit No. 1 March 12, 2022
35 weeks, “All I Want for Christmas Is You,” Mariah Carey, Dec. 21, 2019
33 weeks, “Macarena (Bayside Boys Mix),” Los Del Rio, Aug. 3, 1996
31 weeks, “Amazed, Lonestar, March 4, 2000
30 weeks, “All of Me,” John Legend, May 17, 2014
27 weeks, “With Arms Wide Open,” Creed, Nov. 11, 2000
26 weeks, “Everything You Want,” Vertical Horizon, July 15, 2000
25 weeks, “Red Red Wine,” UB40, Oct. 25, 1988

All eight songs above except for “With Arms Wide Open” and “Everything You Want” logged their journeys to No. 1 over interrupted runs. “Heat Waves” debuted on the Jan. 16, 2021-dated Hot 100; after two weeks off the chart, the song returned on the Feb. 6 survey and has remained on since.

Put in further perspective, “Heat Waves” is just the 23rd title to have even spent 59 or more weeks on the Hot 100 overall, regardless of peak position; that’s out of around 30,000 entries in the chart’s archives.

On the Nov. 13, 2021, Hot 100, “Heat Waves” wrapped a record 42-week trek to the top 10, while on the Jan. 15, 2022, chart it completed a record 51-week rise to the top five. The song has made its steady progress as a crossover airplay hit, having topped the Alternative Airplay chart for three weeks in March-April 2021 and Pop Airplay and Adult Pop Airplay for two weeks each this January and February. Dating to its release in June 2020, the song also gained prominence on TikTok, playing off its “all I think about is you” lyrical hook. It trended especially strongly on the platform in late summer 2021, including via a clip from the band. (Activity on TikTok itself does not factor into any Billboard charts.)

“Glass Animals have songs that have real longevity in them, because they’re brilliant songs and Dave [Bayley] is a brilliant songwriter, but there’s a lot of nuance in them,” the group’s manager, Amy Morgan, told Billboard in January. “Heat Waves” “has a lot of interesting chords underneath the main melody, and there’s a lot of complexity in what sounds, from the outside, quite simple. And those songs – those that are not straight out-of-the-box, obvious songs – take a while to grow.”

Single writer & producer at No. 1: Glass Animals’ Dave Bayley solely wrote and produced “Heat Waves,” making it the first Hot 100 leader written and produced by a single talent since Pharrell Williams wrote, produced and performed “Happy,” which reigned for 10 weeks beginning eight years ago this week (March 8, 2014). Before that, will.i.am wrote and produced, and is featured on, Usher’s “OMG,” which led for four weeks in May-June 2010.

The last group to top the Hot 100 with a song solely written and produced by one of its members before Glass Animals? Boston, whose “Amanda” led for two weeks in November 1986. The band’s frontman, Tom Scholz, wrote and produced the rock ballad.

Started from the bottom: As “Heat Waves” debuted on the Jan. 16, 2021-dated Hot 100 at No. 100, the track completes a rare 100-to-1 odyssey on the Hot 100.

Here’s a recap of all 11 singles that have summited the chart after starting on the first step (an eclectic list whose previous two entries, coincidentally, belong to Wiz Khalifa).

Hot 100 No. 1s That Debuted at No. 100
“Heat Waves,” Glass Animals, hit No. 1 March 12, 2022
“See You Again,” Wiz Khalifa feat. Charlie Puth, April 25, 2015
“Black and Yellow,” Wiz Khalifa, Feb. 19, 2011
“Kiss Kiss,” Chris Brown feat. T-Pain, Nov. 10, 2007
“Can’t Help Falling in Love,” UB40, July 24, 1993
“The Night the Lights Went Out in Georgia,” Vicki Lawrence, April 7, 1973
“When a Man Loves a Woman,” Percy Sledge, May 28, 1966
“Go Away Little Girl,” Steve Lawrence, Jan. 12, 1963
“Michael,” The Highwaymen, Sept. 4, 1961
“Teen Angel,” Mark Dinning, Feb. 8, 1960
“Kansas City,” Wilbert Harrison, May 18, 1959

Notably, the soundtrack to Disney’s Encanto crowns the Billboard 200 albums chart for an eighth week. As the set debuted at No. 197, this week marks the first in which the Hot 100’s top song is a title that bowed at No. 100 and the Billboard 200’s top album is one that began as low as No. 197. That marks an extreme outlier in an era in which titles regularly debut at No. 1 on both charts; of the 58 singles ever to have launched atop the Hot 100, 23 have done so since April 2020, while on the Billboard 200, 23 releases premiered at No. 1 in 2021, after 29 did so in 2020 and 37 did in both 2019 and 2018.

Alternative route to No. 1: “Heat Waves” also marks an uncommon Hot 100 No. 1 that previously led Billboard‘s Alternative Airplay chart. The song is the first to have topped both tallies since Billie Eilish’s “Bad Guy,” which led the Alternative Airplay charts dated Aug. 10 and 17, 2019, and the Hot 100 dated that Aug. 24. Before Eilish, Lorde led both lists with “Royals” in 2013.

Until this week, no group had ruled Alternative Airplay and the Hot 100 with the same song since fun., with “We Are Young” in 2012. (That track topped the Hot 100 before Alternative Airplay; “Heat Waves” is the first song by a group to lead Alternative Airplay and, subsequently, the Hot 100 since Nickelback’s “How You Remind Me” in 2001.)

Meanwhile, “Heat Waves” is just the 10th Hot 100 No. 1 to have topped Alternative Airplay, dating to the latter list’s launch in September 1988. (The elite 10 Hot 100 No. 1s are among 413 total Alternative Airplay leaders to-date, placing “Heat Waves” in the company of just 2% of all Alternative Airplay No. 1s to achieve such a double domination.)

Hot 100 No. 1s That Have Also Led Alternative Airplay
“Heat Waves,” Glass Animals, 2021-22
“Bad Guy,” Billie Eilish, 2019
“Royals,” Lorde, 2013
“We Are Young,” fun. feat. Janelle Monae, 2012
“Somebody That I Used to Know,” Gotye feat. Kimbra, 2012
“Viva La Vida,” Coldplay, 2008
“How You Remind Me,” Nickelback, 2001-02
“Butterfly,” Crazy Town, 2001
“One Week,” Barenaked Ladies, 1998
“Nothing Compares 2 U,” Sinead O’Connor, 1990

“Heat Waves” concurrently crowns the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 24th week each.

British acts at No. 1: Glass Animals continue a recent trend of British artists leading the Hot 100. Half of the last six No. 1s, dating to October, include British acts, as “Heat Waves” follows Adele’s “Easy on Me,” which reigned for 10 weeks, and “My Universe,” by England’s Coldplay and South Korea’s BTS, a one-week No. 1.

Fellow British acts Ed Sheeran, Elton John and Dua Lipa join Glass Animals and Adele in the current Hot 100’s top 10 (see all other ranks below).

“Breaking in the U.S. is as important and coveted as ever,” mused Martin Talbot, CEO of the U.K.’s Official Charts Company, in November. “The U.S. is where blues and then rock n’ roll were born, and many of the heroes of music fans and creators hail from America’s rich music culture.”

Glass ceiling: Thanks to Glass Animals, the word “glass” shines atop the Hot 100 in an act’s name for the second time: Looking Glass led with “Brandy (You’re a Fine Girl)” nearly 50 years ago, on the Aug. 26, 1972, chart.

Let’s also not gloss over the three songs with “glass” in their titles to top the Hot 100: “Judy in Disguise (With Glasses),” by John Fred and the Playboys, in 1968; “Heart of Glass,” by Blondie, in 1979; and “Raise Your Glass,” by P!nk, in 2010.

Meanwhile, chart-watcher Paul Nelson notes that another Glass-named animal act almost hit No. 1 on the Hot 100: Glass Tiger leapt to No. 2 with “Don’t Forget Me (When I’m Gone)” in 1986. Nelson also points out that Martha & the Vandellas’ “Heat Wave” hit No. 4 in 1963, while Linda Ronstadt’s cover rose to No. 5 in 1975. Plus, famed R&B group Heatwave notched three Hot 100 hits in 1977-78: “Boogie Nights” (No. 2), “Always and Forever” (No. 18) and “The Groove Line” (No. 7).

This week also marks the first in which a song with the word “heat” in its title is hottest on the Hot 100. (The word “hot” last appeared in a Hot 100 No. 1 thanks to Mims’ “This Is Why I’m Hot” in 2007.)

Below “Heat Waves,” “We Don’t Talk About Bruno,” from Encanto, slips to No. 2 on the Hot 100 after five weeks at No. 1, the longest reign ever for a song from a Disney film. The track, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (all singing as the characters that they voice in the movie), tops Streaming Songs for a ninth week (26.3 million, down 12%) and rises 5-4 on Digital Song Sales (6,100, down 8%), while gaining by 12% to 8.9 million in all-format radio audience.

Meanwhile, as “Bruno” was written by Lin-Manuel Miranda and “Heat Waves” by Dave Bayley, the Hot 100 sports back-to-back solo-penned No. 1s for the first time in nearly 22 years: Vertical Horizon’s “Everything You Want,” written by the group’s Matt Scannell, and Matchbox Twenty’s “Bent,” authored by the band’s Rob Thomas, led consecutively in July 2000.

GAYLE’s breakthrough hit “abcdefu” holds at its No. 3 Hot 100 best. It spends a third week at No. 1 on Digital Song Sales (10,500 sold, up 27%), keeps at its No. 5 high on Radio Songs (61.3 million, up 6%) and lifts 9-8 on Streaming Songs (12.8 million, down 4%).

Kodak Black’s “Super Gremlin” hits a new No. 4 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a seventh week each. As previously reported, parent album Back For Everything opens at No. 2 on the Billboard 200.

The Kid LAROI and Justin Bieber’s “Stay” rebounds 6-5 on the Hot 100, after seven weeks at No. 1, and

Adele’s “Easy on Me” drops 4-6, after 10 weeks on top. The latter leads Radio Songs for a 15th week (67.8 million, down 8%), extending Adele’s longest stay atop the tally. It’s also one of only six titles to have ruled Radio Songs for at least 15 weeks, dating to the list’s December 1990 inception; The Weeknd’s “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

The rest of the songs in the Hot 100’s top 10 repeat their ranks from a week earlier, with Justin Bieber’s “Ghost” at its No. 7 highpoint (as it becomes his fifth No. 1 on Adult Pop Airplay) and

Ed Sheeran’s “Shivers” at No. 8, after hitting No. 4, and “Bad Habits” at No. 9, after reaching No. 2.

Rounding out the Hot 100’s top 10, Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” is steady at No. 10, after rising to No. 7. John expands his span of top 10s to 51 years, one month and two weeks, dating to his first frame in the top 10 with “Your Song” (Jan. 23, 1971), the longest such span among all acts not involving holiday titles. “Cold Heart” leads the multi-metric Hot Dance/Electronic Songs chart for a 21st week.

Again, for all chart news, you can follow Billboard and Billboardcharts on both Twitter and Instagram and all charts (dated March 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 8).

[thebigham]

www.billboard.com/music/chart-beat/encanto-billboard-200-chart-ninth-week-1235043470/

‘Encanto’ Makes It Nine Weeks Atop Billboard 200 Albums Chart
By Keith Caulfield
03/13/2022

Plus: King Von's posthumous album debuts at No. 2 & DaBaby and YoungBoy Never Broke Again's collaborative set starts in the top 10.

The Encanto soundtrack snags a ninth nonconsecutive week at No. 1 on the Billboard 200 chart (dated March 19). The set earned 72,500 equivalent album units in the U.S. in the week ending March 10 (down 9%), according to MRC Data.

Encanto also surpasses 1 million equivalent album units earned in the U.S., as it the latest tracking week brings its to-date sum to 1.03 million. The soundtrack album was released on Nov. 19, before the film arrived in U.S. theaters on Nov. 24. The movie was released via the Disney+ streaming service a month later (Dec. 24). The album spent its first week at No. 1 on the Jan. 15, 2022-dated chart.

In the last five years, only two albums have spent at least nine weeks at No. 1 on the Billboard 200: Encanto and Morgan Wallen’s Dangerous: The Double Album (10 weeks in 2021).

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 MRC Data. 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 March 19, 2022-dated chart will be posted in full on Billboard‘s website on March 15. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.

Of Encanto’s 72,500 equivalent album units earned, SEA units comprise 63,000 (down 8%, equaling 93.03 million on-demand official streams of the set’s songs), album sales comprise 8,000 (down 14%) and TEA units comprise 1,500 (down 12%).

King Von’s posthumous album What It Means to Be King debuts at No. 2 on the Billboard 200 with 59,000 equivalent album units earned. It’s the late rapper’s first release since his death at the age of 26 on Nov. 6, 2020. Of King’s 59,000 units earned, SEA units comprise 55,000 (equaling 79.06 million on-demand official streams of the album’s songs), album sales comprise 4,000 and TEA units comprise a negligible sum. The 19-track set features guests such as 21 Savage, A Boogie Wit da Hoodie, Lil Durk and Moneybagg Yo.

The new album is the second top 10 for King Von, who first reached the top 10 with his debut studio album, Welcome to O’Block, which climbed 13-5 (its peak) on the Nov. 21, 2020-dated chart, following news of his death.

Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 3 on the Billboard 200, with 45,000 equivalent album units (up 7%).

Dangerous: The Double Album has now accumulated 60 nonconsecutive weeks in the top 10 on the Billboard 200. It surpasses Taylor Swift’s 1989 for the second-most weeks in the top 10 among albums released since 2000, trailing only Adele’s 21, with 84 weeks in the top 10.

Kodak Black’s Back for Everything falls from No. 2 to No. 4 on its second week on the Billboard 200 with 37,000 equivalent album units (down 38%).

Gunna’s chart-topping DS4Ever slips 4-5 with 34,500 units (down 8%), and

The Weeknd’s The Highlights falls 5-6 with 33,000 units (down 2%).

Olivia Rodrigo’s former leader Sour is steady at No. 7 with 31,000 equivalent album units earned (down less than 1%),

Drake’s chart-topper Certified Lover Boy falls 6-8 with 31,000 units (down 2%) and

Doja Cat’s Planet Her bumps 10-9 with 30,000 units (up 4%).

Closing out the new top 10 is DaBaby and YoungBoy Never Broke Again’s collaborative effort Better Than You, debuting at No. 10 with 28,500 equivalent album units earned. Of that sum, SEA units comprise 27,500 (equaling 40.35 million on-demand official streams of the album’s songs) while album sales and TEA units comprise the remaining 1,000 units. Better is the fourth top 10 for DaBaby and the ninth top 10 for YoungBoy Never Broke Again.

MRC Data, the independent data provider to the Billboard charts, completes an exhaustive and thorough review of all data submissions used in compiling the weekly chart rankings. MRC Data reviews and authenticates data, removing any suspicious or unverifiable activity using established criteria before final chart calculations are made and published. In partnership with Billboard, data deemed suspicious and unverifiable is disqualified prior to the final calculation.

[thebigham]

www.billboard.com/music/chart-beat/glass-animals-heat-waves-number-one-hot-100-second-week-1235043649/

Glass Animals’ ‘Heat Waves’ Leads Billboard Hot 100 For Second Week
By Gary Trust
03/14/2022

The track concurrently takes over atop the Radio Songs chart.

A week after Glass Animals‘ “Heat Waves” wrapped a record 59-week climb to No. 1 on the Billboard Hot 100, the song spends a second week at the chart’s summit.

The track concurrently reaches No. 1 on 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 March 19, 2022) will update on Billboard.com tomorrow (March 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Airplay streams & sales: “Heat Waves,” released on Wolf Tone/Polydor/Republic Records, drew 65.6 million radio airplay audience impressions (essentially even week-over-week) and 15.1 million U.S. streams (up 1%) and sold 3,500 downloads (up 20%) in the March 4-10 tracking week, according to MRC Data.

The single, the first Hot 100 No. 1 (and entry) for the British quartet, likewise becomes its first leader in the band’s first visit to the Radio Songs chart; rises 5-3 for a new high on Streaming Songs; and jumps 25-16 on Digital Song Sales, where it reached No. 13.

Alternative to all-format No. 1: Notably, “Heat Waves” topped the Alternative Airplay chart for three weeks in March-April 2021. It becomes just the 15th Alternative Airplay No. 1 to have led the all-genre Radio Songs survey over the 31-plus years that the charts have coexisted, a feat that just 4% of all Alternative Airplay leaders have achieved.

Alternative Airplay No. 1s to Have Topped Radio Songs
“Semi-Charmed Life,” Third Eye Blind, hit No. 1 on the Radio Songs chart dated Sept. 6, 1997
“Fly,” Sugar Ray, Oct. 18, 1997
“Tubthumping,” Chumbawamba, Nov. 29, 1997
“Iris,” Goo Goo Dolls, Aug. 1, 1998
“Slide,” Goo Goo Dolls, Feb. 27, 1999
“Kryptonite,” 3 Doors Down, Oct. 7, 2000
“Hanging by a Moment,” Lifehouse, July 14, 2001
“We Are Young,” fun. feat. Janelle Monae, April 21, 2012
“Somebody That I Used to Know,” Gotye feat. Kimbra, June 2, 2012
“Royals,” Lorde, Nov. 2, 2013
“Feel It Still,” Portugal. The Man, Oct. 28, 2017
“Thunder,” Imagine Dragons, Dec. 2, 2017
“Happier,” Marshmello & Bastille, Nov. 24, 2018
“High Hopes,” Panic! At the Disco, Dec. 1, 2018
“Heat Waves,” Glass Animals, March 19, 2022

As “Heat Waves” hit No. 1 on the Alternative Airplay chart dated March 20, 2021, and ascends to No. 1 on the Radio Songs ranking dated March 19, 2022, its one-year wait to the top of the latter tally is the greatest among the 15 songs to lead both lists. Previously, Lifehouse’s “Hanging by a Moment” took the longest to cross from hitting No. 1 on Alternative Airplay to leading Radio Songs: five months and two weeks, in January to July 2001.


British groups at No. 1: Glass Animals’ “Heat Waves” is the first song by a British group to have topped the Hot 100 for multiple weeks in just over 25 years: since Spice Girls’ “Wannabe” led for four weeks beginning Feb. 22, 1997. (In between, the only other British group to reign – Coldplay – notched two No. 1s that led for a week each: “Viva La Vida,” in June 2008, and “My Universe,” with BTS, in October 2021.)

Among all British acts prior to Glass Animals, Adele most recently dominated for 10 weeks beginning in October with “Easy on Me.”

Zero to 60: Meanwhile, “Heat Waves” becomes just the 20th title to have spent 60 or more weeks on the Hot 100 (among around 30,000 total entries since the chart originated in August 1958).

It’s the seventh No. 1 to chart for 60 or more weeks, joining The Weeknd’s “Blinding Lights” (an overall-record 90); LMFAO’s “Party Rock Anthem,” featuring Lauren Bennett and GoonRock (68); Adele’s “Rolling in the Deep” (65); The Weeknd and Ariana Grande’s “Save Your Tears” (62; still charting); Post Malone’s “Circles” (61); and Los Del Rio’s “Macarena (Bayside Boys Mix)” (60).

No. 1 Rock, Alt: “Heat Waves” concurrently leads the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 25th week each.

“We Don’t Talk About Bruno,” from Encanto, holds at No. 2 on the Hot 100 after five weeks at No. 1, the longest reign ever for a song from a Disney film. The track, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, all singing as the characters that they voice in the movie, tops Streaming Songs for a 10th week (24.9 million, down 6%), dips 4-6 on Digital Song Sales (5,600, down 9%) and drew 8.7 million in all-format radio audience (down 1%) in the tracking week.

As previously reported, the Encanto soundtrack tops the Billboard 200 albums chart for a ninth week.

Kodak Black’s “Super Gremlin” hits a new No. 3 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for an eighth week each.

GAYLE’s “abcdefu” retreats to No. 4 from its No. 3 Hot 100 best and

The Kid LAROI and Justin Bieber’s “Stay” keeps at No. 5, after seven weeks at No. 1.

Adele’s “Easy on Me” is steady at No. 6, after 10 weeks atop the Hot 100;

Justin Bieber’s “Ghost” holds at its No. 7 highpoint; and

Ed Sheeran’s “Bad Habits” rises 9-8, after reaching No. 2, and

Ed Sheeran's “Shivers” slides 8-9, after hitting No. 4.

Rounding out the Hot 100’s top 10, Lil Nas X’s “Thats What I Want” returns to the tier, pushing 11-10 after climbing to No. 9.

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

MRC Data, the independent data provider to the Billboard charts, completes an exhaustive and thorough review of all data submissions used in compiling weekly chart rankings. MRC Data reviews and authenticates data, removing any suspicious or unverifiable activity using established criteria before final chart calculations are made and published. In partnership with Billboard, data deemed suspicious and unverifiable is disqualified prior to final calculations.

[thebigham]

www.billboard.com/music/chart-beat/tom-macdonald-adam-calhouns-the-brave-top-album-sales-1235043616/

Tom MacDonald & Adam Calhoun’s ‘The Brave’ Bows at No. 1 on Billboard’s Top Album Sales Chart
By Keith Caulfield
3/14/2022

Plus: Dolly Parton, Sabaton and Band of Horses debut in top 10, while One Direction's 'Four' re-enters at No. 3 after new vinyl release.

Tom MacDonald and Adam Calhoun’s The Brave bows at No. 1 on Billboard’s Top Album Sales chart (dated March 19), selling 16,000 copies in the U.S. in the week ending March 10, according to MRC Data. The self-released set is the first collaborative effort from the pair, and marks the first entry on the list for MacDonald. It’s the 10th charting album for Calhoun, and his first top 10.

Elsewhere in the top 10 of Top Album Sales, Dolly Parton’s new Run, Rose, Run starts at No. 2, One Direction’s former No. 1 Four re-enters at No. 3 after a new vinyl release, Sabaton’s The War to End All Wars opens at No. 5 and Band of Horses’ Things Are Great enters at No. 7.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new March 19-dated chart will be posted in full on Billboard‘s website on March 15. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.

Digital album sales comprise the entirety of The Brave’s 16,000 copies sold in the week ending March 10.

MacDonald has charted three entries on the Billboard Hot 100 songs chart, all in 2021: “Fake Woke” (peaking at No. 96 last February), “Snowflakes” (No. 71, June) and “Brainwashed” (No. 89, August). Each spent one week on the tally. None of them are on the new album. He’s also notched 19 titles on the Digital Song Sales chart, through the most recently published list (dated March 12). Of those, nine reached the top 10, with “Fake Woke” hitting No. 1. (Calhoun has yet to reach the Hot 100, but has notched two entries on Digital Song Sales, both with MacDonald.)

Dolly Parton lands her highest charting album yet on the 30-year-old Top Album Sales chart, as Run, Rose, Run debuts at No. 2. The set starts with 15,500 sold – Parton’s largest sales week for a non-holiday album since 2016’s Pure & Simple launched with 20,000. Run Rose Run is a companion album to Parton’s book of the same name, co-written with James Patterson.

Of Run, Rose, Run’s 15,500 copies sold, physical sales comprise 11,500 (9,700 on CD and 1,800 on vinyl) and digital sales comprise 4,000.

One Direction’s former No. 1 Four returns to Top Album Sales, re-entering at No. 3 after a new red vinyl pressing was released exclusively via Urban Outfitters. In total in the week ending March 10, Four sold 9,000 copies (up 3,535%) – nearly all from vinyl sales.

Four also re-enters the Vinyl Albums chart at No. 1, its first week atop the tally (it previously peaked at No. 15 in 2015; it was released in November 2014). It’s the second leader on the Vinyl Albums chart for One Direction, following Made in the A.M. in 2015.

The chart-topping Encanto soundtrack rises 5-4 on Top Album Sales with just over 8,000 sold (though down 14%).

Rock band Sabaton logs its second top 10 on Top Album Sales, as The War to End All Wars debuts at No. 5 with 8,000 sold. The group previously hit the top 10 with the No. 5-peaking The Great War in 2019.

Tears for Fears’ The Tipping Point falls 1-6 in its second week on Top Album Sales, with a little under 8,000 sold (down 73%).

Band of Horses’ Things Are Great bows at No. 7 on Top Album Sales with 7,000 sold – the act’s third top 10. It’s the group’s first release since 2016’s Why Are You OK, which debuted and peaked at No. 10.

Olivia Rodrigo’s former No. 1 Sour falls 7-8 on Top Album Sales with 7,000 sold (down 5%),

Adele’s chart-topping 30 dips 6-9 with nearly 7,000 (down 14%) and

Fleetwood Mac’s Rumours descends 9-10 with 5,500 (down 7%).

In the week ending March 10, there were 1.765 million albums sold in the U.S. (up 2.2% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.333 million (up 0.1%) and digital albums comprised 431,000 (up 9.3%).

There were 632,000 CD albums sold in the week ending March 10 (up 1.9% week-over-week) and 692,000 vinyl albums sold (down 1.4%). Year-to-date CD album sales stand at 6.112 million (down 8.5% compared to the same time frame a year ago) and year-to-date vinyl album sales total 7.017 million (down 1.1%).

Overall year-to-date album sales total 17.299 million (down 7.5% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 13.216 million (down 4.6%) and digital album sales total 4.083 million (down 15.7%).

[thebigham]

Sorry that I am late posting this week:

www.billboard.com/music/chart-beat/lil-durk-7220-billboard-200-no-1-album-1235046345/

Lil Durk Scores Second No. 1 Album on Billboard 200 Chart With ‘7220’
By Keith Caulfield
03/20/2022

Plus: Ghost, Rex Orange County and for KING & COUNTRY debut in top 10.

Lil Durk scores his second No. 1 album on the Billboard 200 chart (dated March 26) as 7220 debuts in the top slot. The rapper previously topped the list with The Voice of the Heroes, a collaborative set with Lil Baby, for one week in 2021.

7220 launches with 120,500 equivalent album units in the U.S. in the week ending March 17, according to Luminate, formerly MRC Data – Lil Durk’s best week for a non-collaborative project. 7220 was released on March 11 via Alamo Records.

After eight weeks in a row at No. 1 – and nine weeks in total on top – the Encanto soundtrack is pushed down to No. 3 with 64,000 units (down 12%).

Also in the top 10, Ghost debuts at a career-high No. 2 with Impera – which launches with the largest sales week of any album in 2022 – while Rex Orange County collects his second top five effort with the debut of Who Cares? and for KING & COUNTRY lands its second top 10 with What Are We Waiting For?

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 March 26, 2022-dated chart will be posted in full on Billboard‘s website on March 22. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.

Of 7220’s 120,500 equivalent album units earned, SEA units comprise 117,500 (equaling 164.81 million on-demand official streams of the set’s songs), album sales comprise 2,500 and TEA units comprise 500.

7220 is Lil Durk’s fifth top 10 album – and all of them have reached the top five. The set opens with Lil Durk’s largest week, by units, for a non-collaborative album. His previous solo best was logged when The Voice jumped 5-2 with 86,000 units on the Feb. 13, 2021 chart, after the album was reissued with 14 additional tracks.

7220 also lands the third-largest week for an album in the 2022 tracking year. Only the debut frames of Gunna’s DS4Ever (105,300; week ending Jan. 13) and The Weeknd’s Dawn FM (148,000; the same week) posted larger weeks in 2022.

7220 is the third No. 1 for Alamo Records, and first since Sony Music Entertainment acquired the company last June.

Ghost lands a career-high placing on the Billboard 200, as the rock band’s new album Impera debuts at No. 2. The set also earns the group its biggest week both in terms of equivalent album units earned (70,000) and traditional album sales (62,500). The set additionally logs the largest sales week of any album in 2022, bolstered by its availability across multiple vinyl LP variants, as well as CD, cassette and digital download. Impera was released on March 11 via Loma Vista/Concord.

Impera is the first new full-length studio album from Ghost since Prequelle, which debuted and peaked at No. 3 on the June 16, 2018 tally (the band’s previous chart high). All told, Impera marks the third top 10 album – and fifth top 40-charting set – for the act.

Of Impera’s 70,000 equivalent album units earned, album sales comprise 62,500; SEA units comprise 7,000 (equaling 9.11 million on-demand official streams of the set’s songs) and TEA units comprise 500. The band’s previous biggest week, both in units earned and album sales, was the opening frame of Prequelle (66,000 units, of which 61,500 were album sales).

Impera is the highest-charting rock album on the Billboard 200 in nearly eight months, since John Mayer’s Sob Rock debuted and peaked at No. 2 on the July 31, 2021-dated list. Impera is the highest-charting hard rock set in a year and four months, since AC/DC’s Power Up spent a week at No. 1, debuting atop the list dated Nov. 28, 2020. (Rock and hard rock albums are defined as those that have hit Billboard’s Top Rock Albums and Top Hard Rock Albums chart, respectively.)

Impera also lands the largest week, by units, for a rock album since Sob Rock’s debut week (84,000) and the biggest for a hard rock set in over a year, since the opening week of Foo Fighters’ Medicine at Midnight (70,000; Feb. 20, 2021, chart).

Impera has the biggest week, by album sales, for any album in the 2022 tracking year so far, surpassing the 37,000 copies sold of The Weeknd’s Dawn FM after its CD was released (week ending Feb. 3). Further, Impera has the largest sales week for a rock or hard rock album since the debut of Medicine at Midnight (64,000).

The Encanto soundtrack falls from No. 1 to No. 3 on the Billboard 200 after eight straight weeks on top, and a total of nine nonconsecutive weeks in the lead. It earned 64,000 equivalent album units in the latest tracking week (down 12%).

Morgan Wallen’s former No. 1 Dangerous: The Double Album falls 3-4 on the Billboard 200 with 46,000 equivalent album units (though up 1%).

Dangerous: The Double Album has now accumulated 61 nonconsecutive weeks in the top 10 on the Billboard 200. It ties Celine Dion’s Falling Into You (1996-97) for the third-most weeks in the top 10 among all albums released since 1990. Ahead of them are only Adele’s 21, with 84 weeks in the top 10 (2011-16), and Alanis Morissette’s Jagged Little Pill, with 72 weeks in the top 10 (1995-97).

Rex Orange County notches his second top five-charting album, as Who Cares? bows at No. 5 on the Billboard 200 with 35,000 equivalent album units earned. Of that sum, album sales comprise 20,000; SEA units comprise 15,000 (equaling 19.61 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The artist (born Alexander James O’Connor) previously visited the top 10 with Pony, which debuted and peaked at No. 3 (Nov. 9, 2019 chart).

The Weeknd’s compilation The Highlights is a non-mover at No. 6 with 34,000 equivalent album units (up 4%).

for KING & COUNTRY lands its second top 10 album on the Billboard 200 as the duo’s latest release, What Are We Waiting For?, bows at No. 7 with nearly 32,000 equivalent album units earned. Of that sum, album sales comprise 28,000; SEA units comprise 3,500 (equaling 5.08 million on-demand official streams of the set’s songs) and TEA units comprise 500. The act (brothers Joel and Luke Smallbone) previously visited the top 10 with 2018’s Burn the Ships, which debuted and peaked at No. 7 (Oct. 20, 2018, chart).

Gunna’s chart-topping DS4Ever falls 5-8 with 31,500 units (down 9%),

Drake’s former leader Certified Lover Boy is steady at No. 9 with 31,000 equivalent album units (up less than 1%) and

Doja Cat’s Planet Her is stationary at No. 10 with 30,000 units (up 1%).

[thebigham]

I'm sorry that I am late posting this week:

www.billboard.com/music/chart-beat/glass-animals-heat-waves-imagine-dragons-jid-enemy-hot-100-top-10-1235046511/

Glass Animals’ ‘Heat Waves’ Rules Hot 100 For Third Week, Imagine Dragons & JID’s ‘Enemy’ Hits Top 10
By Gary Trust
03/21/22

Glass Animals‘ “Heat Waves” tops the Billboard Hot 100 for a third week, after completing a record 59-week climb to No. 1.

“Heat Waves,” released on Wolf Tone/Polydor/Republic Records, drew 67.3 million radio airplay audience impressions (up 2%) and 15.2 million U.S. streams (up 1%) and sold 3,100 downloads (down 9%) in the March 11-17 tracking week, according to Luminate, formerly MRC Data.

The single, the first Hot 100 No. 1 (and entry) for the British quartet, logs a second week at No. 1 on the Radio Songs chart; dips to No. 4 from its No. 3 high on Streaming Songs; and falls 16-20 on Digital Song Sales, where it reached No. 13.

As “Heat Waves” reigns in its 61st total week on the Hot 100, it ties as the fifth-longest-charting No. 1 in the list’s history (and is almost assured of moving into second place within two months).

Longest-Charting Billboard Hot 100 No. 1s
90 weeks on Hot 100 (an overall record), “Blinding Lights,” The Weeknd (2019-21; four weeks at No. 1)
68 weeks, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock (2011-12; six weeks at No. 1)
65 weeks, “Rolling in the Deep,” Adele (2010-12; seven weeks at No. 1)
63 weeks, “Save Your Tears,” The Weeknd & Ariana Grande (2020-22; two weeks at No. 1; still on the chart)
61 weeks, “Heat Waves,” Glass Animals (2021-22; three weeks at No. 1 to date; still on the chart)
61 weeks, “Circles,” Post Malone (2019-20; three weeks at No. 1)
60 weeks, “Macarena (Bayside Boys Mix),” Los Del Rio (1995-97; 14 weeks at No. 1)

“Heat Waves” concurrently tops the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 26th week each.

The Kid LAROI and Justin Bieber’s “Stay” rebounds 5-2 on the Hot 100, after seven weeks at No. 1. It holds at No. 2 on Radio Songs (64.5 million, up 1%); slips 8-13 on Streaming Songs (11.5 million, essentially even week-over-week); and re-enters Digital Song Sales at No. 46 (1,800, up 21%). The track has spent all 36 of its weeks on the Hot 100 in the top 10, dating to its entrance at No. 3 on the July 24, 2021, chart; only Post Malone’s “Circles” has linked a longer consecutive run in the top 10 from a debut: 38 weeks, in 2019-20.

Kodak Black’s “Super Gremlin” is steady at its No. 3 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a ninth week each, and

GAYLE’s “abcdefu” keeps at No. 4, after reaching No. 3. “abcdefu” concurrently crowns the Adult Pop Airplay radio chart; it previously led Pop Airplay for two weeks.

“We Don’t Talk About Bruno,” from Encanto, drops 2-5 on the Hot 100 after five weeks at No. 1, the longest reign ever for a song from a Disney film. The track, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz, and the Encanto Cast, all singing as the characters that they voice in the movie, continues its command on Streaming Songs, where it leads for an 11th week (22.2 million, down 11%).

Justin Bieber’s “Ghost” hits a new No. 6 Hot 100 high, up from No. 7, swapping spots with Adele’s “Easy on Me” (6-7), which spent 10 weeks at No. 1.

Imagine Dragons and JID’s “Enemy” surges 12-8 on the Hot 100, with 42 million in radio airplay audience (up 17%, good for the chart’s top Airplay Gainer award for a fifth consecutive week), 10.6 million streams (down 3%) and 4,000 sold (up 3%). The song is showcased at the beginning of each episode of Netflix’s animated series Arcane: League of Legends, which premiered Nov. 6, 2021 (with the track having topped Billboard‘s Top TV Songs chart, powered by Tunefind, for November).

Imagine Dragons notch their fifth Hot 100 top 10, following “Radioactive” (No. 3, July 2013); “Demons” (No. 6, December 2013); “Believer” (No. 4, August 2017); and “Thunder” (No. 4, December 2017). Rapper/singer JID earns his first top 10.

“Enemy” also enters the top 10 on both Radio Songs (14-10) and Digital Song Sales (13-10). Imagine Dragons score their seventh Radio Songs top 10 and first since “Natural” in 2018; “Enemy” reaches the top 10 in just its fifth week on the chart, marking the group’s fastest flight to the tier, one-upping the six-week trip for “Thunder,” its lone leader on the list. The band adds its 11th top 10 on Digital Song Sales. JID reaches the top 10 of both charts for the first time.

“Enemy” is drawing support at multiple radio formats, as it rules Alternative Airplay for a seventh week, having become Imagine Dragons’ seventh No. 1 on the chart; pushes 10-9 on Adult Pop Airplay, and holds at No. 10 on Pop Airplay.

Also notably, the top three titles on Hot Rock & Alternative Songs (“Heat Waves,” “abcdefu” and “Enemy,” at Nos. 1, 2, and 3, respectively, this week) appear in the Hot 100’s top 10 simultaneously for the first time since Hot Rock & Alternative Songs was revamped in June 2020.

Rounding out the Hot 100’s top 10, Lil Nas X’s “Thats What I Want” returns to its best rank (10-9) and

Ed Sheeran’s “Bad Habits” descends 8-10, after reaching No. 2.

[thebigham]

www.billboard.com/music/chart-beat/ghost-impera-first-number-1-top-album-sales-chart-1235046875/

Ghost Scores First No. 1 on Billboard’s Top Album Sales Chart With Biggest Sales Week of 2022
By Keith Caulfield
3/21/2022

Plus: The latest albums from for KING & COUNTRY, Rex Orange County, Benny the Butcher and Joell Ortiz & KXNG Crooked debut in top 10.

Ghost’s Impera blasts in at No. 1 on Billboard’s Top Album Sales chart (dated March 26) with 2022’s biggest sales week for an album – 62,500 copies sold in the U.S. in the week ending March 17, according to Luminate, formerly MRC Data. It’s the first chart-topper for the rock band on Top Album Sales, and the act’s fourth top 10 overall.

Elsewhere in the top 10 of Top Album Sales, for KING & COUNTRY’s What Are We Waiting For? debuts at No. 2, Rex Orange County’s Who Cares? starts at No. 3, Benny the Butcher’s Tana Talk 4 enters at No. 8, and Joell Ortiz and KXNG Crooked’s Rise & Fall of Slaughterhouse bows at No. 10.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new March 26-dated chart will be posted in full on Billboard‘s website on March 22. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.

Impera has the biggest week, by album sales, for any album in the 2022 tracking year so far, surpassing the 37,000 copies sold of The Weeknd’s Dawn FM after its CD was released (week ending Feb. 3). Further, Impera has the largest sales week for a rock or hard rock album since the debut of Foo Fighters’ Medicine at Midnight (64,000; week ending Feb. 11, 2021). (Rock and hard rock albums are defined as those that have hit Billboard’s Top Rock Albums and Top Hard Rock Albums chart, respectively.)

Notably, Impera logs Ghost’s best sales week ever, surpassing the 61,500 start of its last full-length studio album, 2018’s Prequelle. The latter’s first-week number was boosted by a concert ticket/album sale redemption offer. Ticket/album bundles, like merchandise/album bundles, ceased to count towards chart sales as of Oct. 9, 2020.

Of Impera’s 62,500 copies sold in the week end March 17, physical sales comprise 51,000 (28,000 on vinyl; 21,000 on CD and 2,000 on cassette) and digital sales comprise nearly 12,000. The album’s sales were enhanced by its availability on a variety of vinyl LP and CD editions. Impera was released in numerous color vinyl variants, including color versions available exclusively via Target, Walmart, Newbury Comics, Zia Records, independent record stores in general, as well as the band’s official webstore.

In total, Impera’s 28,000 copies sold on vinyl LP marks the largest sales week for a rock album on vinyl in over a year, since Paul McCartney’s McCartney III sold 32,000 in its debut frame (Jan. 2, 2021-dated chart). Further, Impera logs the biggest sales week for a hard rock album on vinyl since 1994, when Pearl Jam’s Vitalogy sold 33,500 copies in its opening week (chart dated Dec. 10, 1994). Vitalogy was exclusively available on vinyl in its first two weeks of release, before it became available on CD.

Impera also debuts at No. 1 on Top Rock Albums, Top Hard Rock Albums, Independent Albums, Vinyl Albums, Tastemaker Albums and Top Current Album Sales.

Top Rock Albums and Top Hard Rock Albums rank the week’s most popular rock and hard rock releases, respectively, by equivalent album units. Independent Albums reflects the week’s most popular albums released by independent record labels. Tastemaker Albums ranks the best-selling albums at independent and small chain record stores. Vinyl Albums lists the top-selling vinyl albums of the week across all sellers. Top Current Album Sales ranks the week’s biggest-selling current albums (not including catalog – older – releases).

Brother duo for KING & COUNTRY bows at No. 2 on Top Album Sales with What Are We Waiting For?, selling 28,000 copies. It’s the third top 10 on the tally for the act. The new album’s sales were bolstered by its availability in a CD signed edition on the act’s official webstore. (In total for the week, CD sales comprise nearly 22,000 – both signed and unsigned across all sellers, while digital album sales comprise 6,000. The set is due out on vinyl LP on May 20.)

Rex Orange County’s Who Cares? debuts at No. 3 on Top Album Sales with 20,000 sold, marking the second top 10 for the artist. Of the set’s starting sum, vinyl LP sales accounted for nearly half of its sales – 9,600 copies. The album also got an assist from a pair of boxed sets sold through the artist’s webstore.

Dolly Parton’s Run, Rose, Run falls 2-4 in its second week on Top Album Sales with 8,000 sold (down 49%) and

the No. 1 Encanto soundtrack dips 4-5 with 7,000 (down 14%).

Nirvana’s Nevermind vaults 11-6 (nearly 7,000) as it basks in the buzz generated by its album cut “Something in the Way” being used in the film The Batman.

Olivia Rodrigo’s former No. 1 Sour rises 8-7 with 6,500 sold (down 4%).

Benny the Butcher’s Tana Talk 4 starts at No. 8 with 6,000 sold;

Adele’s chart-topping 30 is a non-mover at No. 9 with 5,500 (down 17%) and

Joell Ortiz and KXNG Crooked’s Rise & Fall of Slaughterhouse debuts at No. 10 with a little over 5,000.

[thebigham]

www.billboard.com/pro/christmas-music-album-sales-down-retail/

Why Music Retail Is Having a Blue Christmas
BY ED CHRISTMAN

Growth in streaming activity for holiday music may be cannibalizing album sales — leading some to question whether labels will begin paring back their physical offerings.


Is this finally the year that Christmas music streaming is cannibalizing holiday music sales? The raw numbers appear to suggest that’s the case, and some music industry execs have taken notice.

Since 2017, seasonal music album sales — physical formats and digital downloads — have dropped 61.8% to 1.44 million copies (so far) in 2022, as of Dec. 8. That’s down from 4.1 million copies in 2017, even though album sales are essentially at the same level of 90.55 million copies this year versus 91.64 million back then, according to Luminate data up to Dec. 8.


What’s more, seasonal music has held steady during that time, at 6.41 million album consumption units so far in 2022 versus 6.24 million album consumption units in the comparable 49-week year-to-date period of 2017, with an overall annual average coming to 6.3 million album consumption units during that five-year period. But within that, as you might expect, streaming has more than doubled, from 3.2 billion in overall holiday song streams, as of the 49th week of 2017, to 6.68 billion holiday song streams so far this year.

“This might be the year that streaming is impacting Christmas sales,” says one major label executive.

But while music wholesalers concede that the genre is not having the greatest holiday season in terms of sales, they counter there’s another reason this year’s numbers are sluggish. They argue 2022 is missing a key ingredient that in the past has proved to be a big catalyst for the overall genre during the holidays: a big, new Christmas album that drives traffic and fuels sales across the entire genre.

“While a lot of the new albums are doing fine and have done a decent volume, not one of them has been a breakaway hit,” says Alliance Entertainment senior vp of purchasing and marketing Laura Provenzano. In years past, big holiday music albums came from the likes of Josh Groban and his Noel album, which scanned 3.7 million album copies in its debut year of 2007 and now totals 6.32 million album consumption units in the U.S.; Michael Buble‘s Christmas, which scanned 2.45 million copies in its release year of 2011 and a total of 4.5 million album consumption units to date; or, going back further, Kenny G‘s Miracle, the Holiday Album, which scanned nearly 3 million copies in its 1994 debut. Those albums really stoked the genre’s sales numbers in the years they were released.

Besides lacking a big album this year, music merchandisers say the complexion of physical sales has changed, with more titles coming out in the expensive vinyl format while budget-priced CDs’ role in driving holiday sales has faced diminished floor space in discount department stores. So while merchants are realizing more revenue-per-copy thanks to vinyl’s popularity, they’re also seeing a drop in CD unit sales because of a squeeze on budget floor space.

“Some key retailers have pared back their presence in the budget business; there are fewer $5 bins on the sales floor nowadays,” offers Provenzano. Meanwhile, as more holiday albums come out on vinyl, “now that a lot of holiday music has a higher price point, it is no longer as much of an impulse item,” Provenzano adds.

For example, as of week 49 of 2017, physical holiday and seasonal album sales totaled 2.987 million copies, with 100,000 courtesy of the vinyl format. As of the 49th week of this year, total physical sales were 1.142 million, of which 637,000 were in the CD format and 503,000 vinyl, according to Luminate.

Music is generally considered impervious to economic downturns, but that doesn’t mean all genres are immune to the threat of recession, especially after the COVID-19 pandemic changed everything, music merchandisers say. While vinyl has been growing in leaps and bounds, when it comes to holiday music, shoppers are much more price sensitive these days, agrees All Media Supply music buyer Joe Pica.

Music retailers and wholesalers say that even if turns out to be a softer year for holiday music, many perennial Christmas titles are still selling consistently, if not as much as they once were; and that some of the new albums are doing pretty well too. The new releases they point to are Lindsey Stirling‘s Snow Waltz, which so far this year has generated 37,000 units — 25,000 physical copies — since its October release; and her 2017 collection Warmer In the Winter, which has generated 25,000 album consumption units so far this year and 455,000 units — 176,000 physical — since its release. Other new releases include the Bocelli’s A Family Christmas at 66,000 album consumption units — including nearly 52,000 physical copies — since its October release; and the Backstreet Boys‘ A Very Backstreet Christmas, which has so far accumulated 57,000 album consumption units, of which 38,000 are physical copies.

If only, music merchandisers lament, there was that one big album emerging from the pack. In fact, merchandisers were hoping the Backstreet Boys album would fill that role since it was initially going to be paired with a Dec. 14 special on ABC. But that show was pulled due to allegations that singer Nick Carter raped a 17-year-old girl during a 2001 tour — an accusation which he has denied. That news initially broke on Dec. 8.

A look at daily sales for that title for the last two weeks shows that the album is still selling at about the same pace, ranging from 1,100 to 1,400 copies daily through Dec. 12, with the exception of a 7,000 album consumption unit bump on Dec. 5. But even though its sales and streaming activity appears to be holding despite the allegations, the album is unlikely to enjoy a windfall in incremental sales that the holiday TV special would have delivered had it aired.

Besides new releases, other Christmas albums issued over the last few years — including Dolly Parton‘s A Holly Dolly Christmas — are also still generating healthy activity. Kelly Clarkson‘s When Christmas Comes Around has generated nearly 51,000 album consumption units, of which 15,000 copies are in physical formats, amounting to 106,000 units overall since its release in Oct. 2021; while Carrie Underwood‘s My Gift has garnered 46,000 album consumption units so far this year, of which 17,000 are physical, and 628,000 album units since its 2020 bow.

Meanwhile, Pentatonix has built up a strong holiday brand through six seasonal albums, which so far this year have garnered 251,000 album consumption units including 28,000 units from its latest effort, Holidays Around the World. However, only 10% — or 25,000 units — are physical copies. Trans-Siberian Orchestra is another holiday music brand still putting respectable numbers up on the board, as its four genre albums this year have collectively achieved 111,000 units in album consumption activity, of which nearly 28,000 are physical copies.

But even with that showing from current artists like Underwood, Clarkson and Pentatonix, plus legacy artists like Trans-Siberian Orchestra, Ingram Entertainment’s head of sales and marketing Steve Harkins wonders if we are seeing a changing of the guard in the holiday genre. For instance, the holiday seasonal album chart for the week ended Dec. 8 shows that albums from Christmas perennials from the last 50 years, like Bing Crosby, Nat King Cole, Frank Sinatra, Dean Martin, Andy Williams, Elvis Presley, Johnny Mathis and Burl Ives, collectively have only four albums in the top 25 of the Dec. 8 chart; and another six albums in the second half, from Nos. 26 to No. 50.

“We have always relied on the old staples, but now we are seeing more contemporary artists moving up into the top spots on the holiday charts; it could be a generational transition,” says Harkins. “Some of the crooners are being replaced. We are selling less units from them, although they do still sell steadily.”

Others disagree with that assessment, saying that while the old guard may not sell as well as they used to, they still do well, according to Provenzano. Or as All Media’s Pina puts it, “Are the kids today buying Bing? I find that hard to believe. But we still sell plenty of Alabama‘s Christmas album and other [perennial] holiday sellers keep plodding along.”

While the rise of newer holiday music may be true so far this year for the seasonal album chart, it’s not so for the overall holiday/seasonal song streaming chart. Of the top 25 in that chart, only three songs — Ariana Grande‘s “Santa Tell Me” at No. 6, Pentatonix‘s “Hallellujah” at No. 17 and Sia‘s “Snowman” at No. 20 — are from the last 10 years. That’s down from the prior year, when four songs within a 10-year release window made the Top 25 year-to-date holiday songs in the period ending Dec. 2, 2021. In fact, this year only 22 songs in that chart’s top 100 have been released in the last 10 years, and overall, only 34 of the top 100 holiday season songs were released in the current century. As for new holiday tunes released this year, only four songs made the top 100 holiday season songs as of Dec. 9, with Lizzo‘s “Someday At Christmas” showing the most activity at No. 55.

Some holiday classics remain strong sellers year in and year out, and some even grow stronger every year. Alliance’s Provenzano wonders how many copies of the Vince Guaraldi Trio‘s A Charlie Brown Christmas the industry can sell every year. Since 2017, that title has grown every year, from 76,000 album consumption units to nearly 191,000 units as of the 49th week of each subsequent year. This year represents its strongest frame yet, with the album up slightly from 189,000 last year, which was better than 2020 (164,000), 2019 (134,000) and 2018 (88,000).

But other traditional big holiday sellers, like the Mannheim Steamroller albums — consisting of nine studio and four compilation or live albums dating back to the late 1980s that have collectively amassed 23 platinum awards from the RIAA — have slowed down considerably. This year, that catalog has generated about 75,000 album consumption units so far, and of that only a little more than 3,000 were physical sales.

Still, the labels haven’t given up on their perennial sellers. They’ve begun boosting sales of various titles by refurbishing those albums, in some cases adding bonus tracks like the eight extras on Holly Dolly Christmas; or issuing the albums in different colored vinyl like with the Vince Guaraldi Trio classic. Up in Brighton, Mass., Newbury Comics buyer Larry Mansdorf says the latter LP is the chain’s No. 3 selling album — overall, not just seasonal — thanks to the chain carrying the album in green-swirl vinyl.

Still, unless holiday season album sales rebound, the major labels might begin to pare back their offering, says one label executive working in catalog. As it is currently, about 2,300 holiday Christmas titles are still in print, including about 400 that are also available in the vinyl format, wholesalers say.

“This may be the year we look at our Christmas title range and see what’s worth keeping in physical print,” the label executive says.

[thebigham]

www.billboard.com/music/chart-beat/philly-special-christmas-tops-billboard-compilations-chart-1235194056/

‘A Philly Special Christmas’ Hits No. 1 on Compilations Chart, Top 10 on Album Sales
By Keith Caulfield
01/4/2023

The charity set led by Philadelphia Eagles' players Jason Kelce, Lane Johnson and Jordan Mailata benefits Children's Crisis Treatment Center.

The charity album A Philly Special Christmas hits the top 10 on four Billboard album charts, including a No. 1 re-entry on the Compilation Albums tally and a No. 9 debut on Top Album Sales. Led by Philadelphia Eagles players Jason Kelce, Lane Johnson and Jordan Mailata, the seven-track set includes renditions of holiday favorites such sa “White Christmas” and “Santa Claus Is Coming to Town.” All profits from the album benefit Philadelphia’s Children’s Crisis Treatment Center.

A Philly Special Christmas was released as a digital download album for purchase and through streaming services on Dec. 23. In the week ending Dec. 29, 2022, the album sold nearly 11,000 copies in the U.S. according to Luminate – the largest sales week for a non-soundtrack compilation album in over two years. Nearly all of those 11,000 sales were digital downloads. The album previously was available on vinyl, and sold 3,000 copies between the weeks ending Dec. 1 and Dec. 22.

A Philly Special Christmas re-enters the Compilation Albums chart at No. 1 and re-enters Top Current Album Sales at No. 4 (also its first week in the top 10), and debuts at No. 8 on Independent Albums and No. 9 on Top Album Sales. It also bows at No. 26 on Top Holiday Albums and No. 80 on the Billboard 200. (All charts dated Jan. 7, 2023, reflecting the tracking week ending Dec. 29, 2022.)

The last time a non-soundtrack compilation album sold more in a single week was two years ago, when the last Good Music charity album, Good Music to Avert the Collapse of American Democracy, Volume 2 debuted at No. 1 on Compilation Albums and No. 10 on Top Album Sales with 13,500 sold (Oct. 17, 2020, chart).

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow billboard and billboardcharts on both Twitter and Instagram.


Compilation Albums ranks the week’s top-selling compilation albums and Top Current Album Sales lists the week’s overall top-selling current albums (excluding catalog, or older, titles). Independent Albums reflects the week’s most popular albums, by units, released by independent record labels. Top Holiday Albums ranks the most popular seasonal albums of the week, by units.

At No. 1 on Top Album Sales, Taylor Swift’s Midnights rules the list for a 10th week – the entirety of its chart run – with 55,000 copies sold (down 44%). It’s the first album with 10 weeks at No. 1 since Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack strung together 10 nonconsecutive weeks atop the list in 2018-19. The last album with 10 straight weeks at No. 1 was Adele’s 21, which linked together 10 weeks in a row (of its total 24) in 2012.

RM’s Indigo is a non-mover at No. 2 with 15,000 (down 81%),

Michael Jackson’s Thriller rises 5-3 with 14,000 (down 37%),

Harry Styles’ former No. 1 Harry’s House is steady at No. 4 with 13,000 (down 43%) and

Fleetwood Mac’s Rumours climbs 7-5 with 12,000 (down 39%).

Kendrick Lamar’s good kid, m.A.A.d city jumps 9-6 with nearly 12,000 sold (down 22%),

Tyler, the Creator’s Igor bumps 12-7 with 11,000 (down 14%),

Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack falls 3-8 with 11,000 (down 52%) and

A Family Christmas from Matteo, Andrea and Virginia Bocelli descends 10-6 with 10,000 (down 51%).

[thebigham]

www.billboard.com/music/chart-beat/ateez-scores-third-top-10-billboard-album-sales-chart-1235198966/

ATEEZ Scores Third Top 10 on Album Sales Chart With ‘Spin Off: From the Witness’
By Keith Caulfield
1/13/2023

Plus: Taylor Swift's Midnights has the most consecutive weeks at No. 1 since the Titanic soundtrack in 1998.

ATEEZ captures its third top 10 on Billboard’s Top Album Sales chart (dated Jan. 14) as Spin Off: From the Witness debuts at No. 2. The set sold 40,000 copies in the U.S. in the week ending Jan. 5, according to Luminate. The eight-member South Korean group previously visited the top 10 with The World EP.1: Movement (No. 2 in 2022) and Zero: Fever Part.3 (No. 6 in 2021)

CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).

Meanwhile, at No. 1 on Top Album Sales, Taylor Swift’s Midnights spends an 11th consecutive, and total, week atop the list (58,000 sold; up 7%). Midnights has the most weeks at No. 1 since Adele’s 25 collected 11 total nonconsecutive weeks in late 2015 and early 2016. Midnights has the most consecutive weeks atop the list since the Titanic soundtrack scored 16 weeks in a row at No. 1 (the entirety of its No. 1-run) in 1998. Midnights also ties Fearless as Swift’s albums with the most weeks at No. 1 on Top Album Sales.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units.

RM’s Indigo falls 2-3 on Top Album Sales (9,000; down 41%),

Fleetwood Mac’s Rumours rises 5-4 (9,000; down 26%),

Harry Styles’ former No. 1 Harry’s House dips 4-5 (8,000; down 38%) and

Michael Jackson’s Thriller descends 3-6 (nearly 8,000; down 45%).

Tyler, the Creator’s chart-topping Igor is a non-mover at No. 7 (7,000; down 39%),

Kendrick Lamar’s good kid, m.A.A.d city falls 6-8 (nearly 7,000; down 44%),

Arctic Monkeys’ AM climbs 15-9 (6,000; down 28%) and

SZA’s Ctrl jumps 21-10 (5,000; down 27%).

In the week ending Jan. 5, there were 2.123 million albums sold in the U.S. (down 22.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.772 million (down 24.6%) and digital albums comprised 351,000 (up 8.3%).

There were 681,000 CD albums sold in the week ending Jan. 5 (down 11.4% week-over-week) and 1.081 vinyl albums sold (down 31.1%). Year-to-date CD album sales stand at 681,000 (up 9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.081 million (up 36.8%).

Overall year-to-date album sales total 2.123 million (up 16.4% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 1.772 million (up 24.5%) and digital album sales total 351,000 (down 12.4%).

[thebigham]

www.billboard.com/music/chart-beat/sza-sos-fifth-week-number-one-billboard-200-chart-1235199592/

SZA’s ‘SOS’ Spends Fifth Straight Week at No. 1 on Billboard 200
By Keith Caulfield
01/15/2023

SZA’s SOS spends a fifth consecutive, and total, week at No. 1 on the Billboard 200 albums chart (dated Jan. 21). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 12 (down less than 1%), according to Luminate.

Only four albums have spent at least five weeks at No. 1 since the start of 2022: in order from most recent, SOS, Taylor Swift’s Midnights (five), Bad Bunny’s Un Verano Sin Ti (13) and the Encanto soundtrack (nine).

SOS is the first album to spend its first five weeks at No. 1 since Adele’s 30 ruled the list for its first six weeks (its total run at No. 1) from Dec. 4, 2021-Jan. 8, 2022.

The last R&B album by a solo woman with five weeks at No. 1 was Mariah Carey’s Daydream, which notched six nonconsecutive weeks from Oct. 21, 1995, to Jan. 13, 1996 (although, the last R&B album by an all-female act to have five weeks at No. 1 was FanMail by the trio TLC, with five nonconsecutive weeks in charge in 1999 [March 13-May 8]).

And, the last R&B album by a woman to spend its first five weeks at No. 1 was Janet Jackson’s janet., which topped the list for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Taylor Swift’s Midnights is No. 2 (81,000 equivalent album units earned; down 31%), followed by

Metro Boomin’s Heroes & Villains (57,000; up 1%),

Drake and 21 Savage’s Her Loss (51,000; down 3%),

Bad Bunny’s Un Verano Sin Ti (45,000; down 10%) and

Morgan Wallen’s Dangerous: The Double Album (43,000; up 2%).

Zach Bryan’s American Heartbreak climbs 8-7 with 33,000 equivalent album units earned (down less than 1%), and

Lil Baby’s chart-topping It’s Only Me rises 9-8 with 31,000 (down 1%).

Rounding out the new top 10 is Harry Styles’ former No. 1 Harry’s House, which is stationary at No. 10 with 26,000 equivalent album units earned (down 10%).

[thebigham]

www.billboard.com/music/chart-beat/taylor-swift-midnights-most-weeks-top-album-sales-chart-frozen-1235203109/

Taylor Swift’s ‘Midnights’ Has Most Weeks at No. 1 on Top Album Sales Chart Since ‘Frozen’
By Keith Caulfield

Plus: BTS makes its U.S. vinyl album debut as 'Love Yourself: Her' surges back onto the chart.

Taylor Swift’s Midnights continues its hot streak atop Billboard’s Top Album Sales chart, as the set spends its 12th consecutive, and total, week at No. 1 on the list dated Jan. 21. The album sold 25,000 copies in the U.S. in the week ending Jan. 12 (down 58%) according to Luminate.

Midnights now has the most weeks at No. 1 on the Top Album Sales chart since the Frozen soundtrack ruled for 13 nonconsecutive weeks in 2014. Midnights has the most weeks in a row at No. 1 since the Titanic soundtrack logged all 16 of its No. 1 weeks consecutively in 1998.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units.

BTS’ Love Yourself: Her re-enters Top Album Sales at No. 2 following the set’s Jan. 6 release on vinyl. The effort, initially released in 2017, bounds back onto the chart with 20,000 sold (up 2,130%), with most of that sum from vinyl sales (18,000). It’s the first time BTS has released an album on vinyl in the U.S., though the group has issued singles on vinyl.

Love Yourself: Her also debuts at No. 1 on Billboard’s Vinyl Albums chart, the first time a K-pop title has led list. It also halts Swift’s stranglehold of the top spot with Midnights, pushing the album down to No. 2 after 11 straight weeks at No. 1.

Back on Top Album Sales, ATEEZ’s Spin Off: From the Witness falls one spot to No. 3 (14,000; down 66%) while

French Montana’s Coke Boys 6: Gangsta Grillz, hosted by DJ Drama, debuts at No. 4 (11,000).

Fleetwood Mac’s Rumours dips 4-5 (just over 7,000; down 17%),

RM’s Indigo descends 3-6 (7,000; down 22%) and

Michael Jackson’s Thriller falls 6-7 (nearly 7,000; down 16%).

Stray Kids’ former No. 1 MAXIDENT re-enters the chart at No. 8 with nearly 6,000 sold (up 378%) after a new Target-exclusive CD edition of the album was released on Jan. 6.

Rounding out the top 10 are two former No. 1s:

Harry Styles’ Harry’s House (5-9 with nearly 6,000; down 32%) and

Tyler, the Creator’s Igor (7-10 with 5,000; down 23%).

In the week ending Jan. 12, there were 1.837 million albums sold in the U.S. (down 13.5% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.512 million (down 14.7%) and digital albums comprised 325,000 (down 7.5%).

There were 589,000 CD albums sold in the week ending Jan. 12 (down 13.6% week-over-week) and 915,000 vinyl albums sold (down 15.4%). Year-to-date CD album sales stand at 1.27 (up 3.4% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.996 million (up 33.2%).

Overall year-to-date album sales total 3.961 million (up 11.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 3.285 million (up 19.8%) and digital album sales total 676,000 (down 15.4%).