Chart Beat
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The Year of Taylor just keeps rolling: on this week’s Billboard chart, Taylor Swift reigns with the biggest sales week of her career, as well as a new Hot 100 chart-topper replacing a different Swift song at No. 1. 1989 (Taylor’s Version), the fourth release in the superstar’s six-album re-recording project, earned 1.653 million equivalent album units in its debut week, scoring Swift her 13th No. 1 on the Billboard 200; that’s the biggest equivalent album units total for an album since Adele’s 25 in 2015, and also marks Swift’s largest sales week (1.359 million) to date.
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Meanwhile, “Is It Over Now? (Taylor’s Version),” one of five “From the Vault” tracks from the album, debuts at No. 1 on this week’s Hot 100 chart, giving Swift her 11th career chart-topper. And “Is It Over Now?” replaces her 10th Hot 100 No. 1, “Cruel Summer,” at the top, after the Lover fan favorite spent two weeks at the peak of the chart.
Which of Swift’s latest chart feats is more impressive? And have we just experienced the biggest month of her career? Billboard staffers discuss these questions and more below.
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1. With 1.653 million equivalent album units, 1989 (Taylor’s Version) gives Taylor Swift the largest week for any album, by units earned, since 2015, and easily becomes the biggest debut week for a Taylor’s Version album thus far. What do you think is the biggest reason for the monster debut? Danielle Pascual: If I had to pinpoint the moment Taylor solidified her place as a pop superstar, it would be after she dropped the original 1989 in 2014. During this album cycle, she racked up three Hot 100 No. 1s (“Shake It Off,” “Blank Space,” “Bad Blood”), spent 11 weeks at No. 1 on the Billboard 200, embarked on her massive first stadium tour and scored multiple Grammys, including album of the year. This was the era she started most interacting with fans — on social media (especially Tumblr), hosting listening parties for fans in her home pre-album release (the ‘Secret Sessions’), and even sending Christmas gifts to especially active fans (‘Swiftmas’). She also made headlines for a number of other reasons during this time — whether related to her open letter to Apple Music (in which she removed the album from the platform to advocate for artist rights) or her always-speculated dating life. The press cycle for the original project began nearly a decade ago, but it remains the album the general public is most familiar with, while still being regarded as a favorite for Swifties and critics alike.
Hannah Dailey: I think that 1989 was always an album for the people, not just Swifties; in fact, it converted a lot of people into Swift fans back in the day. It’s still her most chart- and radio-friendly album, full of hits that still wouldn’t feel out of place on the radio today (“Blank Space,” “Wildest Dreams,” “Shake it Off”). Plus, the recovered “Vault” song lore (allegedly) about her most high-profile relationship to date (ahem, Mr. Styles) doesn’t hurt, either.
Jason Lipshutz: When 1989 (Taylor’s Version) was announced in August, I outlined the monumental success of the original 1989, with key numbers that explained why the album stands out as a commercial and critical high in a career full of them. That era’s enormity is the main reason why this Taylor’s Version bow dwarfs the others’ debut weeks, its sugary pop exterior and chart-topping hits just too undeniable for longtime fans and casual listeners. Despite coming at a very busy time in the extended Swift universe, the arrival of 1989 (Taylor’s Version) was always going to be too big to fail.
Katie Atkinson: The combination of Taylor’s most commercially successful album, combined with the groundswell of support around her Taylor’s Version re-recording mission, was bound to yield extraordinary results. Basically, the first half of Swift’s career was all leading up to the blockbuster success of 1989, and the second half of her career has all been leading up to her largest-ever sales week. It feels implausible that an artist as huge as Taylor still has higher heights to hit, 17 years in.
Kyle Denis: Obviously, a debut of this size is the result of many compounding reasonings, but I think the majority of the credit should be attributed to Swift’s momentum right now. Despite fairly sparse social media activity and a rest period for her Eras Tour, her new romance with Travis Kelce has made her a virtually inescapable media presence across sports, film and music. That kind of visibility, combined with her already having the No. 1 song in the country, probably helped push 1989 (Taylor’s Version) to its massive debut. I was always certain that 1989 (TV) would debut with over one million units, but I think it’s Swift’s overall career momentum that helped that number inch past Midnights’ 1.57 million debut.
2. While Swift scores the single-largest sales week for any of her albums (not just her Taylor’s Version albums!), “Is It Over Now?,” a “From the Vault” song from 1989 (Taylor’s Version), replace another Swift song, “Cruel Summer,” atop the Hot 100 chart. Which of the two accomplishments is more impressive to you?
Danielle Pascual: Both stats are widely impressive, but scoring the single-largest sales week for any of her albums is huge. Taylor didn’t really change up her physical format strategy for her latest Taylor’s Version — since Folklore, she’s released the album with multiple variations on vinyl and CD (including signed copies), as well as a cassette. Plus, when 1989 debuted at No. 1 on the Billboard 200 in 2014, it scored the single-largest sales week for an album since 2002. The fact that the Taylor’s Version replaced the original album from that top spot speaks to the power of her re-recording journey and fans’ desire for more.
Hannah Dailey: They’re both major, but I’d say her album sales record takes the cake. She’s always been remarkable because of her continued success with LPs, even during periods when public/generational appreciation for the album art form was on the decline. The fact that she’s still outdoing herself in that category is incredible.
Jason Lipshutz: While Swift scoring her largest career sales week at this point in an already storied career is a gargantuan feat, the fact that she was able to replace a song of hers from 2019, with a “From the Vault” song originally conceived for her 2014 album, at the top of the Hot 100 in the year 2023, feels even more mind-boggling as an achievement. Most artists need to release brand new songs to top the charts — not Swift, who has become so dominant in popular music that her songs can travel through time to No. 1.
Katie Atkinson: Ooh, they’re both crazy. But I’m going with the sales week because she’s already replaced herself atop the Hot 100 previously – when “Blank Space” unseated “Shake It Off” back in 2015 from, you guessed it, 1989. In fact, she’s still the only woman to ever replace herself at No. 1 on the chart. Getting these album sales numbers in 2023, let alone her highest-ever album in a career of highs, is next-level.
Kyle Denis: Definitely the album sales accomplishments. Considering that the original 1989 has already sold millions of copies – and keeping in mind the decline in overall albums sales activity over the past decade – the fact that Swift was able to snag this record in a career that already boasts five albums with opening weeks of over 1 million units is simply astounding. She’s technically already sent a “From the Vault” song to No. 1, so while congratulations are certainly in order, it’s not the most remarkable achievement of the past week for Swift.
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3. Do you think “Is it Over Now?” is in for an extended run as a new Swift hit, or do you think another “From the Vault” track has a better shot at ubiquity?
Danielle Pascual: At this point, I think “Is It Over Now?” will continue as the standout. There is plenty of chatter surrounding the song online — it even has a TikTok dance that grows more viral everyday. It’s the type of upbeat pop song we’d expect (and want) from the album that marked Taylor’s departure from country and true foray into pop.
Hannah Dailey: If any of the “Vault” tracks has a shot, it’s “Now That We Don’t Talk.” It’s a classic Swift earworm with relatable lyrics (minus the “mega yacht” part), and a lot of traction on TikTok.
Jason Lipshutz: “Say Don’t Go” is my personal favorite of the 1989 (Taylor’s Version) “From the Vault” songs, but the more I listen to “Is It Over Now?,” the more I appreciate its sonic nuance, lyrical detail (particularly the “three hundred takeout coffees later!,” which plays on my head in a loop) and the emotional rush of the physical movements involved in the chorus. “Is It Over Now?” Is both catchy and understated in a way that sounds durable at radio, and considering how well it’s already doing on streaming platforms, the song appears to be in for a long run at or near the top of the Hot 100. Katie Atkinson: I agree with our own Jason Lipshutz (oh hi, Jason!) that “Say Don’t Go” is the “From the Vault” winner on 1989 (Taylor’s Version). I don’t know that another “Vault” track could top the chart, but I could see it having the longest shelf life of the new batch of songs. I think more than anything, I’ll be curious to see which “From the Vault” tracks Taylor might pull out at her upcoming Eras Tour stops for the acoustic set. I definitely hope to see “Say Don’t Go” performed live.
Kyle Denis: I don’t see “Is It Over Now?” having much longevity at the top of the Hot 100, nor do I think any of the other “From the Vault” tracks will experience that fate. As commercially successful as the Taylor’s Version endeavor continues to be, just one “From the Vault” track has made any kind of lasting commercial impact beyond its first week of availability – and that was 10-minute update of a decade-old fan favorite and cult classic (“All Too Well (10 Minute/Taylor’s Version)”).
4. Within the span of one month, Swift’s Eras Tour concert film bowed big at the box office, “Cruel Summer” finally reached the top of the Hot 100 and 1989 (Taylor’s Version) scored the biggest sales week of her career (while also producing another Hot 100 chart-topper). Have we just witnessed the most dominant 30 days of Swift’s entire career? Danielle Pascual: Yes — and I think that will turn into the most dominant 60 days of her career. Just this week, for instance, Taylor returns for her blockbuster Eras tour after a three-month break, and she’s a front-runner for 2024 Grammy nominations with Midnights (set to be announced on Friday). Plus, Swifties believe a reputation (Taylor’s Version) announcement is imminent by year’s end, which will likely make a slew of new records of its own. What Barbra Walters once said seems to be true now more than ever: “Taylor Swift is the music industry.”
Hannah Dailey: So far? I’d say yes. But knowing her, I’d be hesitant to say that this is the most dominant she’ll ever be, only because she always seems to find a way to top herself. I’m curious whether this will light a fire under her to replicate the success she’s seeing now from her older material with new music down the line.
Jason Lipshutz: Yes. Throughout her career, Swift has enjoyed periods of multiple hits from the same project competing for space near the top of the Hot 100, huge album debuts, major awards and sold-out stadium runs — but this month feels singular, as if her presence in popular music is the same as popular music itself. She’s firing on all cylinders, across multiple mediums and eras, and has zero peers on her level. It’s an unparalleled run, and breathtaking to witness.
Katie Atkinson: Man, I thought that was back in July when Taylor was in the thick of her headline-dominating Eras Tour and had just released Speak Now (Taylor’s Version), only to have three songs from three different albums in the Hot 100 top 10 — “I Can See You (Taylor’s Version) (From the Vault)” (Speak Now, No. 5), “Cruel Summer” (Lover, No. 9) and the “Karma” remix featuring Ice Spice (Midnights, No. 10) — and of course the re-recorded 2010 album at No. 1 on the Billboard 200. But yeah, somehow, this surpasses even that.
Kyle Denis: Yes. As I said earlier, her current momentum is almost unparalleled.
5. Now that 1989 (Taylor’s Version) has been out for over a week, has your opinion changed on any of the hits (or existing album cuts) from the album?
Danielle Pascual: I don’t think so! As a lifelong Swiftie who saw Taylor live for the first time during the 1989 tour, my favorite songs off the original album are still my favorite songs today: “New Romantics,” “Clean” and “Out of the Woods.” I still think “Shake It Off” gets more hate than it deserves, and “Bad Blood” is her worst single off the album (though I recognize how important it was for her career). I do think this slew of “From the Vault” songs is my favorite out of all her Taylor’s Version re-recordings so far, and am excited to see how they’ll fare over time.
Hannah Dailey: This is the only Taylor’s Version so far to make me wish that the “Vault” songs had made it onto the actual track list, even if it were at the expense of songs on the original listing. I would’ve rather had “Say Don’t Go” over “All You Had to Do Was Stay,” “Now That We Don’t Talk” over “I Wish You Would” and “Is It Over Now?” over “How You Get The Girl” – as much as I love every one of those songs. I think this new light shed on her track list choices serves as further proof that her primary focus with 1989 was to make a super-polished pop album that maybe wasn’t quite as vulnerable as her past work, but more palatable to a wider audience. Granted, this approach obviously worked out well for her career at the time, with 1989 spending 11 weeks atop the Billboard 200, and securing a second album of the year Grammy win.
Jason Lipshutz: “Blank Space” remains the most perfect single from that album, but “Wildest Dreams” has turned into a personal favorite, maybe more than any of the 1989 hits. The sweep of the hook! The urgency of the final chorus! I appreciate it all a little bit more now than I did nine years ago.
Katie Atkinson: The hits? No! 1989 is still perfect. And this might be my favorite batch of “From the Vault” tracks of any Taylor’s Version album so far, just because most of them would feel at home on her new albums, too.
Kyle Denis: Still a massive fan of 1989, but having sat with the re-recording for over a week, I don’t think 1989 (Taylor’s Version) does justice to the original. Nonetheless, I do really enjoy “Slut!”
The Citizens of Halloween are, at last, first-time residents on the Billboard Hot 100 (chart dated Nov. 11), thanks to “This Is Halloween,” from Tim Burton’s classic 1993 stop-motion animated film, The Nightmare Before Christmas.
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The song, on Walt Disney Records, debuts at No. 41 with 12.4 million streams (up 152%), 511,000 radio impressions (up 815%) and 3,000 downloads (up 58%) Oct. 27-Nov. 2, according to Luminate.
The song’s parent album The Nightmare Before Christmas jumps from No. 54 to No. 25 on the Billboard 200 with 25,000 equivalent album units (up 61%). The collection reached No. 22 last year, a new high. On the Soundtracks chart, the set rebounds for a fourth total week at No. 1.
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Although he doesn’t earn an official artist billing on the song, “This Is Halloween” was written, composed and produced by Danny Elfman, also the main composer for The Nightmare Before Christmas.
In 2018, for the film’s 25th anniversary, Elfman began performing a live concert experience of its music, complete with a live orchestra and Elfman embodying the character Jack Skellington; he still performs such shows today. Catherine O’Hara and Ken Page also reprised their roles as Sally and Oogie Boogie, respectively.
In an interview with Billboard that year, Elfman said that despite The Nightmare Before Christmas becoming the first animated movie to earn an Academy Award nomination for best visual effects, he was initially disappointed by the film’s reception. “It came and went pretty quickly and didn’t do very well,” he said. “Nobody understood what it was or how to market it. I put so much into this project, including so much of my own personality, that it really hurt. At the time, I was really depressed after it came out. I put so much into it and it was gone.”
The film’s lasting impact, however, has brightened his outlook. “Of all the things I’ve worked on that I would have wished to find a second life,” he mused, “and I’ve worked on a million movies that died early deaths, it would have been Nightmare.”
Elfman has appeared on the Hot 100 in one additional iteration: as a member of new wave group Oingo Boingo. The band charted two songs on the list in the 1980s: “Weird Science,” the theme from the 1985 fantasy sci-fi film, and John Hughes TV series of the same name, reached No. 45 in 1985, and “Just Another Day” peaked at No. 85 in 1986. He’s credited as the sole songwriter on both tracks, and as a co-producer, alongside Steve Bartek.
Outside of the debut of “This Is Halloween,” three other Halloween hits re-enter the Hot 100: Michael Jackson’s “Thriller,” Bobby “Boris” Pick and the Crypt-Kickers’ “Monster Mash” and Ray Parker Jr.’s “Ghostbusters.”
Chrisean Rock is now a Billboard Hot 100-charting artist thanks to her new collaboration with Lil Mabu, “Mr. Take Ya B-tch.” The song, released Oct. 17, debuts at No. 96 with 7.8 million U.S. streams (up 9%) Oct. 27-Nov. 2, according to Luminate. It also debuts at No. 17 on Hot Rap Songs and rises […]
Halloween hits are back on the latest Billboard Hot 100 chart (dated Nov. 11) thanks to annual gains for spooky songs around the Oct. 31 holiday.
Among such ear candy, Michael Jackson’s classic “Thriller” is the highest Halloween-sparked reentry at No. 21 with 14.5 million U.S. streams (up 163%), 10.9 million radio airplay audience impressions (up 464%) and 5,000 downloads (up 102%) for Oct. 27-Nov. 2, according to Luminate. This is the sixth consecutive year in which “Thriller” has reentered the Hot 100. It peaked at No. 4 during its initial chart run in 1984.
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Bobby “Boris” Pickett and the Crypt-Kickers’ “Monster Mash” follows at No. 38 with 11.9 million streams (up 213%), 4.4 million radio impressions (up 1,923%) and 4,000 sold (up 82%). This is the third consecutive season that the graveyard smash has revisited the chart. It spent two weeks at No. 1 during its original run in 1962. It’s the sixth time that “Monster Mash” has ranked on the Hot 100 overall; it debuted in September 1962 and, zombielike, reappeared in 1970 and 1973, and has now returned in 2021, 2022 and 2023.
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The Citizens of Halloween’s “This Is Halloween” from Tim Burton’s classic 1993 stop-motion animated film, The Nightmare Before Christmas, debuts at No. 41 on the Hot 100. It’s the first Hot 100 appearance for the act and the first song from the soundtrack to reach the Hot 100. The song debuts with 12.4 million streams (up 152%), 511,000 in airplay audience (up 815%) and 3,000 sold (up 58%).
Meanwhile, The Nightmare Before Christmas soundtrack jumps from No. 54 to No. 25 on the Billboard 200 with 25,000 equivalent album units (up 61%). The collection reached No. 22 last year, a new high. On the Soundtracks chart, the set rebounds for a fourth total week at No. 1.
Finally, Ray Parker Jr.’s “Ghostbusters” reenters the Hot 100 at No. 45 with 11.1 million streams (up 168%), 5.9 million radio impressions (up 1,484%) and 4,000 sold (up 97%). This is the third consecutive year that the song has returned to the survey, thanks to Halloween gains. The theme to the 1984 blockbuster film of the same name spent three weeks at No. 1 during its original chart run that year.
Taylor Swift spends a record-extending 84th week at No. 1 on the Billboard Artist 100 chart (dated Nov. 11) thanks to the explosive chart start of her latest rerecorded LP, 1989 (Taylor’s Version), plus nine additional albums on the Billboard 200, and 22 songs on the Billboard Hot 100. Explore See latest videos, charts and […]
There’s not so much as a morsel of hope for a reunion, though a U.K. No. 1 album should give some comfort to long-suffering fans of Oasis.
The Britpop-era heavyweights lead the chart race with The Masterplan (via Big Brother), which enjoys a revival thanks to a 25th anniversary reissue.
Originally released in 1998, the LP collects b-sides from the Manchester band’s classic first three albums, 1994’s Definitely Maybe, 1995’s (What’s The Story) Morning Glory? and 1997’s Be Here Now, and is led-off by “Acquiesce,” considered a stone-cold Oasis classic.
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The original version of The Masterplan peaked at No. 2 on the national chart. If it does manage to go one better, it would give Oasis a ninth leader (including all seven studio albums), and first in 13 years — since 2010 hits compilation Time Flies… (1994-2009).
The Masterplan would need to dethrone Taylor Swift’s 1989 (Taylor’s Version) (via EMI), which is does on the Official Chart Update. The fourth in Swift’s recording projects, 1989 (Taylor’s Version) dips 1-2 on the chart blast.
Meanwhile, BTS singer Jung Kook is on track to land the top debut on the national chart with Golden (Interscope), which is forecast to start at No. 3. That would Jung Kook the highest-charting solo album in the U.K. from a member of BTS.
Legendary English pop singer Cliff Richard is on course for a 48th U.K. top 10 appearance with Cliff with Strings – My Kinda Life (EastWest/Rhino). The career retrospective, which collects some of Richard’s top hits, reimagined with orchestral arrangements by Chris Walden, is set to start at No. 4.
The Smiths guitarist Johnny Marr could nab a fifth U.K. top 10 album with Spirit Power: The Best of Johnny Marr (BMG), new at No. 6 on the midweek tally, while records from Caroline Polachek (Desire, I Want To Turn Into You reentering at No. 7 via Perpetual Novice) and Van Morrison (Accentuate The Positive at No. 9 via Exile) are close behind.
Finally, as the The Beatles fly towards a record-setting 18th No. 1 on the Official U.K. Singles Chart with “Now And Then,” the Fab Four’s hits collection 1 (Apple Corps) is set for a top 40 reentry, at No. 19. The album led the survey for nine consecutive weeks following its release back in 2000.
As previously reported, “Now And Then” is currently outselling the rest of the top 5 combined.
All will be revealed when the Official U.K. Albums and Singles Charts are published late Friday, Nov. 10.
Taylor Swift’s 1989 (Taylor’s Version) debuts at No. 1 on Billboard’s Top Album Sales chart (dated Nov. 11), selling a whopping 1.359 million copies in the U.S. in the week ending Nov. 2, according to Luminate. As previously reported, that marks the biggest sales week of 2023, the largest sales week of any album since 2015, and the sixth-biggest sales week for an album since Luminate began electronically tracking sales in 1991.
1989 (Taylor’s Version) is Swift’s 13th No. 1 on Top Album Sales.
The first-week sales of 1989 (Taylor’s Version) were so large, they accounted for 43.8% of all albums sold in the U.S. in the tracking week: 1.359 million of the total 3.102 million sold. Further, focusing just on the physical copies of the album Swift sold (CD, vinyl and cassettes), 1989 (Taylor’s Version) sold 1.261 million copies – representing 46.9% of all physical album sales last week (2.689 million physical albums were sold across all titles in the U.S.).
The sales of 1989 (Taylor’s Version) were enhanced by its availability in 15 collectible physical formats: five color vinyl variants, eight CD editions and two cassette editions. Of the five vinyl variants, Target carries a color variant that includes one bonus track (“Sweeter Than Fiction”). The album is also available to buy in two digital download editions: a standard 21-song version and a deluxe 22-song version (which adds a re-recorded version of the album’s “Bad Blood,” featuring Kendrick Lamar).
So far in 2023, Swift’s catalog of albums, across all of her titles, have sold 4.531 million copies – which accounts for 5.4% of all albums sold this year by all artists combined (83.758 million sold year to date). Swift is by far the year’s top-selling act by total album sales. Her collected albums have sold six times more than the year’s No. 2-selling act, Stray Kids, with 753,000 sold.
Elsewhere in the top 10 of the new Top Album Sales chart, the latest releases from SEVENTEEN, Grateful Dead and Duran Duran debut.
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. The new Nov. 11, 2023-dated chart will be posted in full on Billboard‘s website on Nov. 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
At No. 2 on Top Album Sales, SEVENTEEN’s SEVENTEENTH Heaven: 11th Mini Album arrives. It’s the sixth top 10-charting effort for the Korean pop group. The set bows with 98,000 copies sold, effectively all from CD sales, bolstered by its availability across 16 collectible CD variants.
The Rolling Stones’ Hackney Diamonds falls 2-3 in its second week, with 33,000 sold (down 65%).
Grateful Dead’s latest archival live album release, Dave’s Picks, Volume 48: Pauley Pavilion, UCLA, Los Angeles, CA, 11/20/71, debuts at No. 4 with 19,000 sold. It’s the 38th top 10-charting set for the band since Top Album Sales launched in 1991.
TOMORROW X TOGETHER’s chart-topping The Name Chapter: Freefall dips 3-5 with 15,000 sold (down 48%).
Duran Duran’s new Danse Macabre debuts at No. 6 with 14,000 sold. It’s the fourth top 10-charting title on the 32-year-old Top Album Sales chart. The album’s sales were bolstered by its availability in five different vinyl iterations (adding up to a little over 5,000 sold), but its CD was its best-selling format, as its singular available CD sold nearly 6,000 copies.
Rounding out the new top 10 on Top Album Sales are four former No. 1s from Swift: Midnights (rising 8-7 with 13,000; up 48%), Lover (6-8 with 13,000; up 28%), Speak Now (Taylor’s Version) (11-9 with nearly 13,000; up 74%) and Folklore (9-10 with 12,000; up 43%). With five Swift titles in the top 10 concurrently, it’s the second time Swift held at least half of the top 10 in the same week. She previously did it on the July 22-dated chart, with six titles.
In the week ending Nov. 2, there were 3.102 million albums sold in the U.S. (up 75.5% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 2.689 million (up 88.9%) and digital albums comprised 413,000 (up 20%).
There were 1.233 million CD albums sold in the week ending Nov. 2 (up 105.1% week-over-week) and 1.434 vinyl albums sold (up 76.8%). Year-to-date CD album sales stand at 29.245 million (up 0.8% compared to the same time frame a year ago) and year-to-date vinyl album sales total 38.585 million (up 18.4%).
Overall year-to-date album sales total 83.758 million (up 5.7% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 68.296 million (up 10.1%) and digital album sales total 15.462 million (down 10.1%).
After less than one day of availability, The Beatles’ “Now and Then” bounds in at No. 1 on Billboard’s Digital Song Sales chart dated Nov. 11.
In the Oct. 27-Nov. 2 tracking week, “Now and Then” – with all of its sales in that span logged Nov. 2, after it premiered at 10 a.m. ET – sold 16,000 downloads in the U.S., according to Luminate.
The song also starts at No. 1 on Rock Digital Song Sales, and is The Beatles’ first leader on each retail ranking. (The band’s digital catalog was first made available in the iTunes Store in November 2010.)
As previously reported, “Now and Then” concurrently opens at No. 37 on Rock & Alternative Airplay with 1.1 million audience impressions on reporting rock radio stations in its first day. Among all formats, the song drew 2.6 million in audience Nov. 2.
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Elsewhere, “Now and Then” starts at Nos. 7 and 11 on the multi-metric Hot Rock Songs and Hot Rock & Alternative Songs charts, respectively, with its sales and airplay also augmented by 2.3 million official U.S. streams Nov. 2.
The song starts at No. 5 on the Billboard Hot 100’s Bubbling Under chart, which ranks the top 25 titles that have not yet hit the Hot 100.
Plus, the track opens at No. 152 on the Nov. 11-dated Billboard Global 200, with 6.4 million streams and 30,000 sold worldwide, again, all tallied Nov. 2.
“Now and Then” is billed as the final Beatles song, first recorded as a demo in 1977 by John Lennon and initially meant for the band’s The Beatles’ three-edition Anthology series in the mid-‘90s before being shelved by the surviving members of the band. It was completed and released this year after new technology helped extract Lennon’s vocals from the original demo while also using guitar recordings from George Harrison from the initial attempt to finish the song.
Notably, The Beatles released two new Anthology singles, each of which opened at No. 5 on the then-active Hot Singles Sales chart, which tracked physical singles before downloads became songs’ main sales currency in the 2000s. “Free as a Bird” began with 59,000 copies sold in its first week (Dec. 30, 1995) and “Real Love,” with 67,000 (March 23, 1996).
The first full week of activity, including physical copies, for “Now and Then” – whose official video premiered Nov. 3 at 9 a.m. ET – will be reflected on Billboard’s Nov. 18-dated charts, including the streaming-, airplay- and sales-based Hot 100 (encompassing activity tracked Nov. 3-9).
All Billboard charts dated Nov. 11 will update on Billboard.com on Tuesday, Nov. 7.
Taylor Swift returns with another massive week on Billboard’s charts (dated Nov. 11), as all 21 songs from the standard edition of her latest re-recorded album, 1989 (Taylor’s Version), land on the latest Billboard Hot 100.
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The set debuts at No. 1 on the Billboard 200, her 13th leader, with 1.653 million equivalent album units earned in its opening week (Oct. 27-Nov. 2), according to Luminate. That’s not only the largest one-week total of 2023, but the biggest week for any album since the opening week of Adele’s 25 in November 2015 (3.482 million). Of the new set’s 1.653 million units, 1.359 million are from album sales, marking Swift’s largest sales week for a title to date.
Of Swift’s 22 total entries on the Hot 100 – all 21 from the new set, plus “Cruel Summer” (which falls to No. 6 after two weeks at No. 1) – 19 debut and two re-enter: “Wildest Dreams (Taylor’s Version)” and “This Love (Taylor’s Version),” at Nos. 20 and 43, respectively, both new highs. Her re-recorded “Wildest Dreams” charted for one week at No. 37 in October 2021, after it appeared in the trailer for the 2021 DreamWorks Animation film Spirit Untamed, while the new version of “This Love” spent one frame, at No. 50, on the chart in May 2022, after its appearance in the trailer for the Amazon Prime Video series The Summer I Turned Pretty.
Here’s a look at all of Swift’s songs on the Nov. 11-dated Hot 100, all of which are debuts except where noted.
Taylor Swift on the Nov. 11-dated Hot 100:
No. 1, “Is It Over Now? (Taylor’s Version) (From the Vault)”
No. 2, “Now That We Don’t Talk (Taylor’s Version) (From the Vault)”
No. 3, “Slut! (Taylor’s Version) (From the Vault)”
No. 5, “Say Don’t Go (Taylor’s Version) (From the Vault)”
No. 6, “Cruel Summer” (down after two weeks at No. 1)
No. 7, “Bad Blood (Taylor’s Version)”
No. 9, “Style (Taylor’s Version)”
No. 10, “Suburban Legends (Taylor’s Version) (From the Vault)”
No. 12, “Blank Space (Taylor’s Version)”
No. 14, “Welcome to New York (Taylor’s Version)”
No. 16, “Out of the Woods (Taylor’s Version)”
No. 19, “Wildest Dreams (Taylor’s Version)” (re-entry; new peak)
No. 20, “All You Had to Do Was Stay (Taylor’s Version)”
No. 28, “Shake It Off (Taylor’s Version)”
No. 29, “New Romantics (Taylor’s Version)”
No. 30, “Clean (Taylor’s Version)”
No. 31, “I Wish You Would (Taylor’s Version)”
No. 36, “I Know Places (Taylor’s Version)”
No. 39, “Wonderland (Taylor’s Version)”
No. 40, “How You Get the Girl (Taylor’s Version)”
No. 42, “This Love (Taylor’s Version)” (re-entry; new peak)
No. 43, “You Are in Love (Taylor’s Version)”
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With 18 debuts, Swift brings her total to 230 Hot 100 hits in her career, the second-most after Drake’s 321. She also ups her counts to 31 top five hits (passing The Beatles, Mariah Carey and Madonna for the second-most after Drake’s 41); 49 top 10s (second after Drake’s 76); 85 top 20 titles (second after Drake’s 132); and 137 top 40 entries (second after Drake’s 199).
Meanwhile, this is just the fourth week in which an artist has tallied at least eight songs in the Hot 100’s top 10 simultaneously. Here’s a look at every such instance.
Most Simultaneous Entries in the Hot 100’s Top 10:
10, Taylor Swift, chart dated Nov. 5, 2022
9, Drake, Sept. 18, 2021
8, Drake, Nov. 19, 2022
8, Taylor Swift, Nov. 11, 2023
As “Is It Over Now? (Taylor’s Version) (From the Vault)” debuts at No. 1, Swift ups her total to 11 career Hot 100 No. 1s, breaking out of a tie with Janet Jackson and Stevie Wonder to tie Whitney Houston for the eighth-most of all time (dating to the chart’s 1958 start). The Beatles lead all acts with 20 No. 1s, followed by Mariah Carey (19), Rihanna (14), Drake (13), Michael Jackson (13) and Madonna (12) and The Supremes (12).
Taylor Swift’s “Is It Over Now? (Taylor’s Version) [From the Vault]” soars in at No. 1 on the Billboard Global 200 songs chart (dated Nov. 11). Swift claims the top six songs on the survey – a first in the chart’s three-year-plus history. She one-ups the prior mark, which she also held, as she swept the top five on the Global 200 dated Nov. 5, 2022, when her album Midnights made its chart start.
The top six songs on the latest Global 200 are from Swift’s newest rerecorded album, 1989 (Taylor’s Version), which bounds in atop the Billboard 200 chart, becoming her 13th No. 1 set, extending her mark for the most among women.
Swift also becomes the first artist to score new Global 200 No. 1s in consecutive weeks, as her new leader follows the coronation of her “Cruel Summer” a week earlier.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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Six-cess: Swift Scores Record on Global 200
“Is It Over Now? (Taylor’s Version) [From the Vault]” premieres at No. 1 on the Global 200 with 63.7 million streams and 7,000 sold worldwide in its first week (Oct. 27-Nov. 2). Swift earns her fourth No. 1 on the chart, following “Cruel Summer” a week ago and two songs that, like her latest, debuted on top: “Anti-Hero” led for four weeks beginning in November 2022 and “All Too Well (Taylor’s Version)” reigned for a week in November 2021.
Swift breaks out of a tie with Olivia Rodrigo for the most Global 200 No. 1s among women. Overall, she ties Bad Bunny for the most among all soloists; among all acts, their four each trail only BTS’ seven.
As noted above, “Is It Over Now? (Taylor’s Version) [From the Vault]” leads six songs from 1989 (Taylor’s Version) in the Global 200’s top six spots. Here’s a recap of their ranks, and worldwide streaming totals in the tracking week:
No. 1: “Is It Over Now? (Taylor’s Version) [From the Vault],” 63.7 million streams worldwide
No. 2: “Now That We Don’t Talk (Taylor’s Version) [From the Vault],” 55.9 million
No. 3: “Slut! (Taylor’s Version) [From the Vault],” 55 million
No. 4: “Say Don’t Go (Taylor’s Version) [From the Vault],” 53.4 million
No. 5: “Style (Taylor’s Version),” 52 million
No. 6: “Bad Blood (Taylor’s Version),” 46.3 million
Swift additionally starts at No. 9 on the Global 200 with “Blank Space (Taylor’s Version),” also from 1989 (Taylor’s Version), led by 45.2 million streams.
With seven new top 10 Global 200 hits, Swift ups her count to 24 top 10s since the chart began. She passes Bad Bunny (19) and ranks behind only Drake (35) for the most.
(Among the onslaught of Swift’s new top 10s, “Cruel Summer” falls to No. 11 on the Global 200.)
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Quintero Continues Atop Global Excl. U.S.
Iñigo Quintero’s “Si No Estás” spends a second week at No. 1 on the Global Excl. U.S. chart, with 51.6 million streams (down 5%) and 1,000 sold (down 9%) outside the U.S. Oct. 27-Nov. 2. The piano-pop song is the first entry on the ranking for the Spanish singer-songwriter.
Jung Kook’s “Seven” featuring Latto keeps at No. 2 following nine weeks at No. 1 on Global Excl. U.S. beginning in July; Tate McRae’s “Greedy” is steady at its No. 3 high; and Doja Cat’s “Paint the Town Red” rebounds 5-4, following two weeks on top starting in September.
Plus, Swift debuts three songs in the Global Excl. U.S. top 10, all from 1989 (Taylor’s Version): “Is It Over Now? (Taylor’s Version) [From the Vault],” at No. 5 (32.1 million streams outside the U.S.); “Style (Taylor’s Version),” at No. 7 (30.7 million); and “Now That We Don’t Talk (Taylor’s Version) [From the Vault],” at No. 10 (27.9 million).
Swift now boasts 14 Global Excl. U.S. top 10s, moving her closer to Bad Bunny’s record 18 since the chart began.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 11, 2023) will update on Billboard.com Tuesday (Nov. 7). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.