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Tag: Charts (31-40 of 337)

Robin Thicke scores first No. 1 album with 'Blurred Lines'

What he’s lost in luxurious hair over the years, Robin Thicke has gained in chart presence: the smooth singer’s new album Blurred Lines has snagged the top spot on the Billboard 200 albums chart, marking a career first.

Aided by the strength of his summer smash “Blurred Lines,” Thicke’s album of the same name sold 177,000 in its debut, his best sales week ever according to Nielsen Soundscan. His previous record was set by 2008’s Something Else, which debuted at No. 3 with 137,000.

Now, on to artists who didn’t headline last night’s Colbchella: Five Finger Death Punch! That rock band’s latest effort, The Wrong Side of Heaven and the Righteous Side of Hell: Volume 1, slotted at No. 2 with 112,000 — which amounts to their best-ever sales week as well. Behind them is Jay Z’s Magna Carta Holy Grail, slipping to No. 3 with 62,000.

MCHG was in fact the only non-debut to land in the top five. At No. 4 came indie-rap artist Tech N9ne, whose Something Else (no relation to the Thicke album of the same name) scored 58,000 in sales. (As Billboard points out, Tech N9ne also claims a guest spot on that new Five Finger Death Punch album.) And rounding out the top five is the Backstreet Boys, who sold 48,000 copies of their sixth effort, In a World Like This.

Justin Bieber's 'Baby' is officially the best-selling digital song ever

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More good news for the Biebs today. The Recording Industry Association of America (RIAA) announced today via Twitter that his third-ever single, “Baby,” has received Diamond certification.

Originally released March 23, 2010, the song is the Gold and Platinum Program’s foremost digital single ever. Bieber, who is currently on tour, tweeted the following in response:

The Digital Single Award is a new certification as of May 2013. It includes sales as well as online streams. Justin Bieber’s manager Scooter Braun took to Instagram to show off the physical award that comes with the lofty distinction:
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Selena Gomez has the number one album in the country

Stand aside, Jay Z — the newly-legal ex-girlfriend of Justin Bieber now owns the album chart.

Selena Gomez’s Stars Dance takes the top spot on the Billboard 200 this week, moving about 97,000 copies in its first week. Buoyed by the top 10 hit “Come & Get It” (written, incidentally, by songwriter and Pitch Perfect star Ester Dean), Stars Dance knocked Jay Z’s Magna Carta Holy Grail from its two-week perch. It’s Gomez’s first chart-topper, though all three of her albums with the Scene have made the top 10.

The only other big debut this week belongs to Marc Anthony, whose Spanish-language 3.0 checks in at number five with 39,000 copies sold. MIchigan metalcore band We Came As Romans’ Tracing Back Roots and the Young Money Cash Money compilation Rich Gang (which features tracks by Lil Wayne, Rick Ross, Tyga, French Montana, Flo Rida, and Birdman) also made top 10 debuts.

Meanwhile, expect strong numbers for One Direction when tomorrow’s new Billboard Hot 100 comes out: their new single “Best Song Ever” sold an impressive 322,000 digital downloads in its first week of release. Considering the radio support the group gets, it would not be shocking to see “Best Song Ever” debut in the top 10, perhaps even in the top five. Still, it looks like Robin Thicke’s “Blurred Lines” is on its way to an eighth consecutive week as the number one song in the country. It remains the most-streamed song on Spotify, and people cannot get enough of its who-needs-clothes? video.

It’ll be interesting to see next week’s album chart, as new albums by both Thicke and the Backstreet Boys should show up in the top 10. Will the success of Thicke’s single translate to a chart-topping debut on the albums list?

Jay-Z wins at everything: His new album tops album charts, breaks Spotify records

Jay-Z’s got a lot of reasons to smile this week.

First off, he’s married to Beyoncé. Still! But more immediately, the man’s latest effort, Magna Carta Holy Grail, is killing it commercially: Soundscan reports that the album moved a blockbuster 527,000 copies in its first week, giving Jay the 13th No. 1 album of his career.

That number exceeds the high-profile bows of Daft Punk’s Random Access Memories (339,000 its first week out), and Kanye West’s Yeezus (327,000). It’s still, however, lower than the year’s biggest debut, Justin Timberlake’s The 20/20 Experience, which notched 968,000.

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Album sales: J. Cole rises to No. 1, outsells Kanye West

When no one was watching, J. Cole stole the throne: The Roc Nation rapper’s Born Sinner has not only crept up to No. 1 on the Billboard 200 albums chart, but it’s also outselling Kanye West’s Yeezus.

J. Cole’s latest first charted three weeks ago, where it debuted at No. 2 behind West. But Sinnger has since taken advantage of a relatively slow month in music (remember, Wale was the last week’s No. 1) and become the rare album to top the chart without debuting there. As Soundscan reports, the album sold 58,000 copies in the last frame, which Billboard points out is “the sixth-smallest sales week for the top-selling album in the SoundScan era.” Still, that brings its total sales to 439,000, while Yeezus — which debuted the same day and currently sits at No. 3 — has only mustered 431,000 in sales to date.

Meanwhile, stuck in the middle of all this is Wale’s The Gifted, which fell from the top spot to No. 2, with 50,000. Of course, all these rappers will have to clear the way for Jay-Z, whose Magna Carta Holy Grail will register next week. Current projections have that landing in the 350-400,000 range, even though everyone knows it’s already platinum anyway.

Album sales: Wale tops chart, Kanye West sees 'Yeezus' fall big

Perhaps it’s fitting that during the Fourth of July holiday, the chart’s top album hails from our nation’s capital: D.C. rapper Wale snagged his first ever No. 1 this week with The Gifted, which debuted with 158,000 in sales.

And while that marks a career-high chart position for the wordy rhymesman, it’s actually a slip sales-wise from his last effort, 2011’s Ambition, which sold 164,000 when it landed at No. 2 in its debut week.

Speaking of slips: last week’s chart-topper, Kanye West’s Yeezus, suffered a steep drop, falling to No. 3 with 65,000 — an 80% drop. As the number-crunchers at Billboard report, all the previous No. 1 albums this year experienced a second-week drop of 69% on average.

And according to Soundscan, Yeezus‘ fall is the fourth-biggest since the service started keeping records in 1991. (The record, if you’re curious, belongs to Madonna’s MDNA, which fell 87% percent after its debut week last year.)

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Kanye West's 'Yeezus' tops chart, though he doesn't beat his own sales record

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Looks like Kanye West’s no-radio strategy has paid off: Yeezus has landed on the top of the Billboard albums chart, with 327,000 copies sold in its debut week.

For some historical context, that’s the biggest week for a rap album since 2011, when Drake moved 631,000 units of Take Care.

As for West’s own discography, Yeezus marks the rapper’s sixth consecutive album (Watch the Throne included) to premiere at No. 1; only his very first album, 2004’s The College Dropout, debuted outside the top spot (it bowed at No. 2). It’s also his lowest selling debut week: his last solo record, the 2010 opus My Beautiful Dark Twisted Fantasy, topped the chart with 496,000 in its first week.

Still, Yeezus‘ performance was strong enough to make it the year’s third-highest sales week for an album, bested only by Justin Timberlake’s The 20/20 Experience (968,000) and Daft Punk’s Random Access Memories (339,000).

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Charts: Queens of the Stone Age have the number one album, Robin Thicke has the top song, Miley Cyrus' 'We Can't Stop' opens big

After a six year wait, a new label, and a car crash with an actress on a CW show, Josh Homme finds himself at number one for the first time. 

Queens of the Stone Age’s excellent new album …Like Clockwork debuted at number one on this week’s Billboard chart, moving 91,000 copies in its opening week. It’s the first chart-topper for the band, as well as the first number one for indie label Matador, also home to indie stalwarts like Cat Power, Pavement, and Guided by Voices. (The label’s previous high on the chart was Interpol’s self-titled debut, which bowed at no. 7 in 2002.) READ FULL STORY

Daft Punk's 'Random Access Memories' hits No. 1 with second biggest album debut of the year

It was a big week for debut albums all around, but the crown (or for these two, solid gold helmets) goes to Daft Punk.

The French duo’s Random Access Memories has snagged the top spot in the Billboard 200 albums chart, with Nielsen SoundScan reporting a whopping 339,000 copies sold. This marks the second biggest debut week of the year, beaten only by Justin Timberlake’s The 20/20 Experience.

Billboard notes that 65% of Daft Punk’s sales came from digital downloads, which comes to 221,000 — making it the second biggest digital-sales debut album after (yep) The 20/20 Experience. (On the other end of the tech spectrum, they also had the year’s best sales to date in vinyl, hitting near the 10,000 mark.)

All this is to say that Daft Punk has scored its biggest chart week in its history. Their previous peak came from their Tron: Legacy soundtrack back in 2011, which debuted at No. 4. Before that, their 2001 breakout album Discovery topped out at No. 44, while 2005’s Human After All debuted at No. 98. So far, Random Access Memories has already sold more than twice the amount that Human After All has sold to date.

Despite all that, there were actually other debuts this week. Darius Rucker’s True Believers scored a No. 2 spot in its first frame, with 83,000 copies. Brooklyn-via-Ohio indie-rockers the National debuted at No. 3 on the strength of Trouble Will Find, with a career-high 75,000, while NYC rapper French Montana landed at No. 4 with Excuse My French, which moved 56,000 in its first week.

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The National and Daft Punk: Should we reward stasis or experimentation?

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The National just released Trouble Will Find Me, their sixth album. I gave it a B, because it is what I consider the very definition of a B-level album: It’s an exceptionally well made album by a now-veteran band, but it does not really waver from the formula set up on previous albums. Essentially, it’s more of the same, so if you like albums made by the National, then you’ll certainly like this new album by the National.

I’ve held fast to that grade, though the more I think about my reasoning, the more I have begun to question it. It has forced a core question to the forefront: What do we expect from our favorite artists?

In the case of the National, it’s deeply unfair that I am essentially punishing them for being excellent. READ FULL STORY

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