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SZA’s SOS claims a ninth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Feb. 25) — the most weeks atop the list for an album by a woman in nearly seven years. The last set by a female artist to spend at least nine weeks at No. 1 was Adele’s 25, which ruled for 10 nonconsecutive weeks between Dec. 12, 2015, and March 12, 2016.
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SOS earned 93,000 equivalent album units in the U.S. in the week ending Feb. 16 (down 7%), according to Luminate.
Also in the top 10 of the new Billboard 200: Paramore’s This Is Why debuts at No. 2 — the highest charting alternative album in eight months, while Rihanna’s former No. 1 Anti returns to the top 10 for the first time since 2016, following her halftime show performance at the Super Bowl on Feb. 12.
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 Feb. 25, 2023-dated chart will be posted in full on Billboard‘s website on Wednesday (Feb. 22), one day later than usual, owed to Presidents’ Day holiday on Monday (Feb. 20) in the U.S. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 93,000 equivalent album units earned in the week ending Feb. 16, SEA units comprise 92,000 (down 7%, equaling 126.73 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 1%) and TEA units comprise 500 (up 2%).
In the last 10 years, only three albums by women have spent at least nine weeks at No. 1 on the Billboard 200: SOS, Adele’s 25 (10 in 2015-16) and Taylor Swift’s 1989 (11, 2014-15).
The last R&B/hip-hop album with at least eight weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
Paramore scores its highest-charting album in nearly a decade, as This Is Why debuts at No. 2 on the Billboard 200. It’s also the highest-charting alternative album in almost a year. This Is Why is the band’s first album since After Laughter was released in May 2017; it debuted and peaked at No. 6. The group’s last album to go higher was its self-titled 2013 release, which debuted at No. 1 on the April 27, 2013-dated list.
This Is Why begins with 64,000 equivalent album units earned. Of that sum, album sales comprise 47,000, SEA units comprise 17,000 (equaling 21.3 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album was ushered in by the album’s title track, which became the act’s first No. 1 on the Alternative Airplay chart (in February) after 11 previous entries going back to 2007.
This Is Why is the highest-charting alternative album on the Billboard 200 since Red Hot Chili Peppers’ Unlimited Love debuted at No. 1 on the April 16, 2022-dated chart. (Alternative albums are defined as those that have hit or are eligible for Billboard’s Top Alternative Albums chart.)
Swift’s former No. 1 Midnights falls 2-3 on the Billboard 200 with 60,000 equivalent album units earned (down 3%).
Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover at No. 4 with 44,000 equivalent album units earned (down 4%). Dangerous has now accumulated 107 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the third-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956, surpassing the 106 weeks tallied by the soundtrack to the film West Side Story. Dangerous continues to have the most weeks in the top 10 for an album by a single artist. The all-time top 10 record-holder is the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.
Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards)
Weeks in Top 10, Artist, Title, Year First Reached Top 10
173, Original Cast, My Fair Lady, 1956109, Soundtrack, The Sound of Music, 1965107, Morgan Wallen, Dangerous: The Double Album, 2021106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Soundtrack, Oklahoma!, 195685, Peter, Paul and Mary, Peter Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(through the Feb. 25, 2023-dated chart)
Bad Bunny’s chart-topping Un Verano Sin Ti rises 7-5 with nearly 44,000 equivalent album units (down 4%); Metro Boomin’s former leader Heroes & Villains falls 5-6 with 43,000 units (down 5%); and Drake and 21 Savage’s former No. 1 Her Loss climbs 8-7 with 40,000 (down 7%).
Rihanna’s chart-topping Anti roars back into the top 10 for the first time since its release year, 2016, as the set vaults 50-8 with 36,000 equivalent album units earned (up 166%). The album, Rihanna’s most recent studio effort, surges back up the list following Rihanna’s Super Bowl halftime show performance on Feb. 12, where her setlist included the album’s hit single “Work.” (She also wove in elements of the album’s “Pose” and “Kiss It Better” into the performances of “All of the Lights” and “Rude Boy,” respectively.)
Anti was released a little over seven years ago, on Jan. 28, 2016, and spent two nonconsecutive weeks at No. 1 (Feb. 20 and April 2, 2016-dated charts). It was last in the top 10 on the Oct. 16, 2016 chart (No. 9) and last at No. 8 or higher on the Sept. 24, 2016-dated list (when it was also at No. 8).
Anti is Rihanna’s longest-charting album on the Billboard 200, with 355 weeks on the list. That also marks the most weeks ever on the chart for an R&B/hip-hop album by a woman or R&B album by a woman.
Closing out the top 10 of the new Billboard 200 are a pair of former No. 1s: Harry Styles’ Harry’s House is stationary at No. 9 with 33,000 equivalent album units earned (down 13%) and TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 3-10 with 32,000 units (down 33%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.
SZA’s SOS era keeps unlocking achievements for the hitmaking singer-songwriter, who captures her first No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Shirt” tops the tally dated Feb. 18.
The single pushes from No. 5 after a strong 19% jump in weekly plays that made it the most-played song on U.S. monitored R&B/hip-hop radio stations in the week ending Feb. 9, according to Luminate. Its sizable week-over-week improvement earned the track the weekly Greatest Gainer honor for the biggest play count increase among the chart’s 40 songs. KNDA-FM in Corpus Christi, Texas, led the way with the most plays this week, followed by KHTE-FM in Little Rock, Ark. as the second-biggest supporter and KBDS-FM in Bakersfield, Calif. in third.
With “Shirt,” SZA finally finds the right fit for a No. 1 on Mainstream R&B/Hip-Hop Airplay after seven previous top 10 efforts. She first broke the barrier in 2017 with her breakthrough hit, “Love Galore,” featuring Travis Scott, which reached No. 4, and became a staple at the format thanks to six more top 10s from her next 10 chart appearances. Here’s a full recap of SZA’s top 10 collection on Mainstream R&B/Hip-Hop Airplay:
Song Title, Artist (if other than SZA), Peak Date, Peak Position“Love Galore,” featuring Travis Scott, No. 4, Sept. 2, 2017“The Weekend,” No. 4, Dec. 9, 2017“All the Stars,” with Kendrick Lamar, No. 9, March 31, 2018“Broken Clocks,” No. 8, May 12, 2018“Hit Different,” featuring Ty Dolla $ign, No. 10, Dec. 12, 2020“I Hate U,” No. 2, March 12, 2022“No Love,” with Summer Walker, No. 5, June 4, 2022“Shirt,” No. 1 (one week to date), Feb. 18, 2023
The count could grow in the very near future, as SZA’s latest hit, “Kill Bill,” repeats at No. 13. At just five weeks on the chart, it’s the youngest title in the top 15. And, despite the non-movement in rank, it improved 4% in plays in the latest tracking week.
Back to the current champ: In addition to securing SZA’s first chart-topper on the radio ranking, it returns one of the track’s co-writers and co-producers, Rodney “Darkchild” Jerkins, to the summit for the first time in 23 years. The hitmaker last reigned for his songwriting and production contributions with Destiny’s Child “Say My Name,” a three-week champ in 2000.
Elsewhere, “Shirt” rallies 7-3 on the R&B/Hip-Hop Airplay chart, which ranks songs based on combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the song reached 19 million in audience, a 22% from its prior week’s total. Plus, “Shirt” climbs 4-3 on Rhythmic Airplay (up 10%) and flies 28-18 on the all-genre Radio Songs chart (up 21% to 34.2 million in total audience).
Future’s “Wait” pays off as the rapper’s hit single “Wait for U,” featuring Drake and Tems, breaks the record for the most weeks in the top 10 on Billboard’s Rap Airplay chart.
The single, which won a Grammy Award for best melodic rap performance on Feb. 5, captures an unprecedented 40th week in the top 10 despite a 4-5 decline and 7% drop in weekly audience, according to Luminate.
With a 40th week in the top 10, “Wait” surpasses Pop Smoke’s “What You Know Bout Love” as the track with the most weeks in the Rap Airplay top 10. The late Pop Smoke set the mark on the chart dated Oct. 2, 2021, as “Know” ranked at No. 10 for its 39th week in the upper tier.
As the leaderboard shuffles, here’s a look at the tracks with the most weeks in the top 10 of Rap Airplay since the list began in 1999.
Weeks in Top 10, Song Title, Artist, Year(s) in Top 1040, “Wait for U,” Future featuring Drake & Tems, 2022-2339, “What You Know Bout Love,” Pop Smoke, 202138, “Back That Thang Up,” Juvenile featuring Mannie Fresh & Lil Wayne, 1999-200038, “Suge,” DaBaby, 2019-2038, “Baddest,” Yung Bleu, 2 Chainz & Chris Brown, 2021-2237, “Power Trip,” J. Cole featuring Miguel, 2013-1436, “For the Night,” Pop Smoke featuring Lil Baby & DaBaby, 2020-2134, “Girls Want Girls,” Drake featuring Lil Baby, 2021-2234, “Big Energy,” Latto, 2021-2234, “Super Gremlin,” Kodak Black, 2022
During its recordbreaking stay, “Wait” captured 18 weeks at No. 1 on the Rap Airplay chart to claim the second-longest run in the chart’s history. It trails only the 19-week reign for Kid Ink’s “Show Me,” featuring Chris Brown, in 2014.
The combination of three radio favorite artists has proven an irresistible teamup for radio programmers and listeners alike. Since its release in April 2022 on Future’s I Never Liked You album, “Wait” has dominated the artists’ home radio R&B/hip-hop format and led to breakthroughs in other arenas. “Wait” racked up a record 16 weeks at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and is nearing the all-time top 10 mark there, too. Plus, it led to Future’s biggest Pop Airplay success as a lead act with its No. 20 peak, as all three of his higher-peaking songs featured him alongside core pop acts: Maroon 5’s “Cold” (No. 8), Taylor Swift’s “End Game,” also featuring Ed Sheeran (No. 10) and Ariana Grande’s “Everyday” (No. 18).
The radio juggernaut has also boosted Tems’ appeal in the radio world. Between featured turns on “Wait” and Wizkid’s 2021 smash “Essence,” which ruled R&B/Hip-Hop Airplay for 27 weeks, the Nigerian singer-songwriter quickly became a favorite at the radio format. The two titans helped generate interest in her own work, with “Free Mind” the top beneficiary. The song, first released on her 2020 EP, For Broken Ears, improved in streams and led to a radio campaign of its own. It clearly worked – this week, “Free Mind” sits at No. 1 on the R&B/Hip-Hop Airplay chart for a sixth week.
Paramore’s reunion could net the pop-punk veterans a U.K. chart crown.
Hayley Williams, Zac Farro and Taylor York reunited on This Is Why (via Atlantic), their six album and first since 2017’s After Laughter. It could also be their first U.K. No. 1 in nearly a decade.
Based on sales and streaming data reported by the Official Charts Company, This Is Why is the clear leader at the midweek stage. It’s currently out-selling its nearest rival, You Me At Six’s Truth Decay (Underdog), by more than two-units-to-one.
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If it maintains its trajectory, This Is Why will follow Paramore’s Brand New Eyes (from 2009) and Paramore (2013) to the top of the chart.
You Me At Six’s Truth Decay, No. 2 on the Official Chart Update, should give the Surrey, England rock outfit a seventh top 10 entry.
The Rolling Stones, meanwhile, are rolling to a 42nd top 10 appearance with their live hits retrospective GRRR! Live (Mercury Studios). It’s on track for a No. 6 debut.
Several winners from last Saturday’s 2023 BRIT Awards should see gains on the Official U.K. Albums Chart, published Friday (Feb. 17). Harry Styles’ third studio album Harry’s House (Columbia) is on course to climb 12-3 after collecting album of the year, while British group and best new artist winners Wet Leg could reenter the top 40 with their chart-topping eponymously titled debut. Wet Leg (Domino Recordings) is at No. 33 on the Official Chart Update.
Finally, a string of reissues look set to peak positions on the national chart. Scottish alternative rock outfit Mogwai has a pair of re-issues on track for new highs — 1997 debut Mogwai Young Team (at No. 12 via Chemikal Underground), and their sophomore LP Come On Die Young (No. 24).
Also, Gary Numan’s new wave act Tubeway Army could see their 1978 self-titled debut beat its previous best. Tubeway Army (via Beggars Banquet) blasts into the midweek chart at No. 13, ahead of its No. 14 peak position from 1979.
Miley Cyrus should take the bouquet once again in the U.K. chart race, as “Flowers” (via Columbia) takes a considerable early lead.
Cyrus’ latest hit is “flying” on the midweek chart, the OCC reports, and is well-placed to snag a fifth consecutive week at No. 1 on the Official U.K. Singles Chart, when it’s published late Friday (Feb. 17).
“Flowers” is easily Miley’s longest-reigning No. 1 in the U.K., beating the single-week runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
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Also on the latest chart blast, PinkPantheress could pounce to a new peak position — and a career high — with “Boy’s a liar” (Warner Bros). The tune, which is juiced-up by the release of a remix featuring rising U.S. rapper Ice Spice, lifts 15-4 on the Official Chart Update.
The BBC Sound of… 2022 winner has three top 40 singles to her name, with “Boy’s a liar” last week giving her a first-ever top 10 appearance.
Meanwhile, Coi Leray’s viral number “Players” (Uptown/Republic Records) is shuffling up the chart, and is on the verge of giving the U.S. rapper a first top 10. It’s up 12-11 on the midweek survey.
Finally, Linkin Park makes a noteworthy impact on the chart blast with “Lost” (Warner Bros), a previously unreleased track which features vocals from the band’s late leader singer Chester Bennington.
It’s set to appear at No. 16 on the chart blast, for the nu metal act’s 18th U.K. top 40 appearance. “Lost” is one of six unreleased songs on Meteora 20, the 20th anniversary edition of their sophomore album. Meteora 20th Anniversary Edition will be released through Warner Records on April 7.
Miley Cyrus “Flowers” (Columbia) continues to grow in the U.K., where it logs a full month at No. 1.
Accumulating more than 9.3 million streams during the latest cycle, “Flowers” continues its streak as the most-streamed track in the U.K. for a fourth consecutive week.
“Flowers” is by some distance Miley’s longest-reigning No. 1 in the U.K., beating the single-week runs for her previous leaders “We Can’t Stop” and “Wrecking Ball,” both from 2013.
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After enjoying a second, viral life on TikTok, U.S. R&B singer Miguel continues his march up the U.K. chart with “Sure Thing” (Jive). Miguel’s 2010 release lifts 6-4 for a new peak.
Hotly-tipped British singer and songwriter PinkPantheress nabs her first U.K. top 10 with “Boy’s a liar” (Warner Records), up 45-8 on the latest chart, published Feb. 10. “Boy’s a liar” flies following the release of a remix featuring rising U.S. rapper Ice Spice. PinkPantheress won the BBC Sound of 2022, an annual poll that has previously been awarded to the likes of Adele, Sam Smith, Haim and Jessie J.
Also cracking the U.K. top 10 is Tiësto and Tate McRae’s party number “10:35” up 13-10. “10:35” becomes Tiësto’s fifth and Tate’s second U.K. top 10 appearance.
Finally, there’s new peaks for U.S. rapper and singer Coi Leray, as “Players” (Uptown/Republic Records) improves 19-12; Australian rapper and singer The Kid LAROI’s “Love Again” (Columbia) rises 18-16; Afrobeats artist Libianca’s “People” (5K) bounces 22-17; Philadelphia singer and songwriter Lizzy McAlpine makes her top 40 debut with “Ceilings” (Harbour Artists & Music) up 50-27; Pink’s collaboration with Fred Again, “Trustfall” (RCA), soars 59-28, for the Philly native’s 38th U.K. top 40 single; and U.S. teen D4VD (pronounced David) snags a second top 40 entry as “Here With Me” (Darkroom) improves 46-40.
SZA’s SOS jumps back to No. 1 on the Billboard 200 albums chart (dated Feb. 18), collecting an eighth nonconsecutive week atop the list. It earned 100,000 equivalent album units in the U.S. in the week ending Feb. 9 (up less than 1%), according to Luminate.
The last album by a woman with eight weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.
Also in the top 10 on the new Billboard 200, Shania Twain captures her sixth top 10-charting album, as her latest studio effort, Queen of Me, debuts at No. 10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 18, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 14). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 100,000 equivalent album units earned in the week ending Feb. 9, SEA units comprise 99,000 (up less than 1%, equaling 135.4 million on-demand official streams of the set’s tracks), album sales comprise 500 (up 2%) and TEA units comprise 500 (up 8%). SOS has yet to be released for sale on any configuration other than a digital download album.
The last R&B/hip-hop album with at least eight weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. SOS has the most weeks at No. 1 for an R&B album by any act since Usher‘s Confessions ruled for nine nonconsecutive weeks in 2004.
R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.
Four former No. 1s trail SZA, as Swift’s Midnights rises 3-2 (62,000 equivalent album units; down 9%), TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 1-3 (48,000; down 70%), Morgan Wallen’s Dangerous: The Double Album climbs 6-4 (46,000; up 8%) and Metro Boomin’s Heroes & Villains dips 4-5 (nearly 46,000; down 3%).
The Weeknd’s The Highlights vaults 41-6 with 45,000 equivalent album units earned (up 207%). The best-of effort contains such hits as “Blinding Lights” and the resurgent “Die for You” (from The Weeknd’s studio albums After Hours and Starboy, respectively). On the new chart, the TEA and SEA units for those songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most traditional album sales in a week. (The Highlights sold nearly 1,000 copies in the latest tracking week, while After Hours and Starboy each sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours and Starboy, respectively, as they outsold The Highlights that week.
Bad Bunny’s chart-topping Un Verano Sin Ti rises 8-7 with 45,000 equivalent album units earned (up 16%), while Drake and 21 Savage’s former leader Her Loss falls 5-8 with 43,000 (down 2%).
Harry Styles’ former No. 1 Harry’s House returns to the top 10, climbing 13-9 (38,000; up 51%), following its win for album of the year at the Grammy Awards (Feb. 5). The set also took home the trophy for best pop vocal album, while Styles additionally performed on the show, singing the set’s single “As It Was.”
Twain closes out the top 10 of the new Billboard 200, as her latest studio album, Queen of Me, debuts at No. 10 with 38,000 equivalent album units earned. Of that sum, album sales comprise 34,000; SEA units comprise 3,500 (equaling 4.92 million official on-demand streams of the set’s tracks) and TEA units comprise 500. Twain previously visited the top 10 with Now (No. 1 in 2017), Greatest Hits (No. 2; 2004), Up! (No. 1, 2002), Come On Over (No. 2, 1997) and The Woman In Me (No. 5, 1996).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Bizarrap and Shakira hold strong atop the Billboard Argentina Hot 100 chart as “Bzrp Music Sessions, Vol. 53” leads for a third consecutive week on the Feb. 4-dated ranking.
While Luck Ra’s “Ya No Vuelvas,” featuring La K’Onga and Ke Personajes, remains at No. 2, “Muñecas,” the partnership by TINI, La Joaqui and Steve Aoki, lifts 5-3; the closest La Joaqui and Aoki have been to the top 10 the 100 title-deep chart.
Miley Cyrus’ “Flowers” drops 3-4, while Cris Mj, Duki and Nicki Nicole’s “La Marisola,” featuring Standly, dips 4-5. Plus, Argentinian urban artist BM secures his first top 10 with “M. A. (Mejores amigos)” as the track ascends 13-7 in its ninth week.
The week’s Greatest Gainer honors goes to Lil Cake & Migrantes’ “Mercho,” featuring Nico Valdi, rallies up the chart 64 rankings: from No. 78 to No. 14; the most since Luar La L’s “Calle” also surged 64 positions (90-26) in Aug. 2022.
Elsewhere, Feid’s “Chorrito Pa Las Animas” scores the Hot Shot Debut of the week at No. 78, the Colombian’s 10th entry. Further, Rosalía’s latest single “LLYML” opens at No. 86. Plus, Callejero Fino claims his 11th career entry as “Que Te Vaya Bien” starts at No. 95.
Finally, Ovy On The Drums and Ozuna’s “Chao Bebe” debuts at No. 98.
It took more than 25 years, but Kenny Lattimore returns to the peak of Billboard’s Adult R&B Airplay chart and earns his second No. 1 with “Take a Dose.” The single, released on SoNo, advances from No. 2 to lead the list dated Feb. 11 after a 12% surge in plays that made it the most-played song on U.S. monitored adult R&B stations in the week ending Feb. 2, according to Luminate.
“Dose” gives the R&B singer his second champ on Adult R&B Airplay, following “For You” in 1997. The prior champ reigned for 17 weeks that year, and at the time, was the song with the most weeks at No. 1 in the chart’s history, from its 1993 launch. Now, it still ranks in the top-five longest runs at the summit:
Weeks at No. 1, Song Title, Artist, Date Reached No. 118, “Fortunate,” Maxwell, May 22, 199918, “So in Love,” Jill Scott featuring Anthony Hamilton, July 2, 201117, “For You,” Kenny Lattimore, April 19, 199717, “Adorn,” Miguel, Nov. 17, 201217, “Blurred Lines,” Robin Thicke featuring T.I. + Pharrell, Aug. 17, 2013
Between his two chart-topping singles, Lattimore landed four top 10s: “Days Like This” (No. 4, 1998); “If I Lose My Woman” (No. 10, 1999); “Love Me Back” (No. 8, 2015) and “Stay on Your Mind” (No. 7, 2018). In addition, he scored an additional top 10 with his debut entry on the list, “Never Too Busy,” which peaked at No. 2 in 1996.
“We did it!,” Lattimore wrote in a Twitter post. “Thanks to UAC [urban AC] radio, streaming media and fans who have supported my new album #HereToStay and this journey to “Take A Dose” reaching #1. I’m grateful for all the love and support!”
Elsewhere, “Dose” jumps 23-19 on the R&B/Hip-Hop Airplay chart, which ranks songs based on combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the four-spot rise comes through a 14% weekly increase to 6.1 million in audience in the week ending Feb. 2. As “Dose” cracks the top 20, it becomes Lattimore’s second song among 15 entries to reach the mark. No surprise – “For You” is the other, as it reached a No. 10 best in May 1997.
