Enigma.
Diamond Member
Joined: July 2007
Posts: 14,176
|
Post by Enigma. on Oct 4, 2018 5:39:36 GMT -5
Weezy's album wasn't a surprise release though, everyone knew it was coming and actually it was even delayed.
|
|
|
|
Post by areyoureadytojump on Oct 4, 2018 12:09:55 GMT -5
Maybe Nicki was right? hitsdailydouble.com/rumor_millThursday, October 4, 2018 A BUNDLE OF TROUBLESo how do labels earn big chart debuts for titles outside the streaming/hip-hop sweet spot—established pop, rock and country acts, typically with upper-demo audiences? For any act that’s a substantial live draw, it’s the ticket or merch bundle to the rescue. Ticket or D2C bundles can give even a floundering release enough extra traction to score big first-week numbers. The antiquated Nielsen rules governing ticket bundles have some loopholes, but the ones surrounding merch are infinitely murkier and subject to much greater exploitation. Unlike ticket bundles, merch bundles don’t require redemptions—an arbitrary and inconsistent distinction that opens up huge opportunities for abuse. (What’s permitted from D2C and what’s tossed out, meanwhile, is often incredibly subjective.) What kind of abuse? Insiders say that in some cases there are bundles for posters and T-shirts that are never printed, “purchased” by phony email accounts that have been bought in bulk—no redemptions needed—and that anyone with a checkbook can hire a call center to drive the whole sham enterprise. We’re shocked. Shocked, we tell you.You can’t blame the players for playing according to the existing ground rules, but even those who are winning the game week to week agree that the situation has gotten out of hand. As one insider put it, “They don’t even make it hard to cheat.” It used to be that Billboard could point to its charts as the last vestige of its otherwise shredded credibility, but the widespread gaming going on nowadays puts even that in jeopardy. |
|
|
|
Post by Baby Yoda Hot100Fan on Oct 4, 2018 15:35:28 GMT -5
^Billboard's inconsistent rules and loopholes allow that mess to happen.
|
|
|
|
Post by wayneashleymusic on Oct 4, 2018 15:46:41 GMT -5
Funny how Kanye's "surprise" album was going to keep Cher out of #1 and it was OK BUT when Lil' Wayne's "really surprise" album dropped at the very last minute and going to keep Kanye out of #1, he pulled his album. I like artists like Cher and Lil' Wayne because the two of them know how to go away. In both of their cases, they do a project, then step back and in both cases step back and are out of the spotlight between projects. In Cher's case this has been her pattern since the 1960's. Lil' Wayne does the same thing. Eminem does it too. Sometimes an artist needs to get OUT of the spotlight. Either way, Congrats to Lil'"Wayne on his #1 and to Cher just for doing well enough to compete with Logic. Cher's album will be number 1 outside of the 200 and rap charts (dance? pop? etc.). A TRUE Queen finds her throne, and knows how to claim it LOL. www.billboard.com/biz/charts/2018-09-01/randb-hip-hop-album-sales |
|
|
|
Post by balletgirlmom on Oct 5, 2018 4:07:30 GMT -5
I'm still glad it was Lil' Wayne that kept her out of #1 and not Kanye. Lil' Wayne is more fun and he operates more like Cher in that BOTH Lil'Wayne and Cher know how to go away. Between projects they chill. That is one reason why new music from them in special. Some artists are in the spotlight too much and try to create their news and it gets tiring. Sometimes I think less is more.
|
|
Choco
Diamond Member
james dean daydream
Joined: February 2009
Posts: 27,985 
My Charts
Pronouns: he/him
|
Post by Choco on Oct 5, 2018 9:21:10 GMT -5
Great for Logic, Cher and Wayne.
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,166
|
Post by ddlz on Oct 5, 2018 9:23:56 GMT -5
Maybe Nicki was right? hitsdailydouble.com/rumor_millThursday, October 4, 2018 A BUNDLE OF TROUBLESo how do labels earn big chart debuts for titles outside the streaming/hip-hop sweet spot—established pop, rock and country acts, typically with upper-demo audiences? For any act that’s a substantial live draw, it’s the ticket or merch bundle to the rescue. Ticket or D2C bundles can give even a floundering release enough extra traction to score big first-week numbers. The antiquated Nielsen rules governing ticket bundles have some loopholes, but the ones surrounding merch are infinitely murkier and subject to much greater exploitation. Unlike ticket bundles, merch bundles don’t require redemptions—an arbitrary and inconsistent distinction that opens up huge opportunities for abuse. (What’s permitted from D2C and what’s tossed out, meanwhile, is often incredibly subjective.) What kind of abuse? Insiders say that in some cases there are bundles for posters and T-shirts that are never printed, “purchased” by phony email accounts that have been bought in bulk—no redemptions needed—and that anyone with a checkbook can hire a call center to drive the whole sham enterprise. We’re shocked. Shocked, we tell you.You can’t blame the players for playing according to the existing ground rules, but even those who are winning the game week to week agree that the situation has gotten out of hand. As one insider put it, “They don’t even make it hard to cheat.” It used to be that Billboard could point to its charts as the last vestige of its otherwise shredded credibility, but the widespread gaming going on nowadays puts even that in jeopardy. Nicki was doing it too. But this HDD article is on point. Billboard has turned their album chart into a joke. They need to close the loopholes asap. And they should not focus just on merch bundles. Ticket bundles are also awful and can be manipulated! |
|
Deleted
Joined: January 1970
Posts: 0
|
Post by Deleted on Oct 5, 2018 9:33:59 GMT -5
Weezy's album wasn't a surprise release though, everyone knew it was coming and actually it was even delayed. I agree, but I think "surprise release" has, for some, become loosely used for any album that doesn't have any pre-release promotion via a single, etc. It's like, "I'm putting an album out this Friday" is the surprise instead of just putting the album out on Friday. I like to think of them as cold releases, personally. True surprise or not, they're all-at-once without any pre-release tracks or singles. |
|
wavey.
Moderator
Look...
Positive Vibes🙏🏾❤
Joined: August 2006
Posts: 43,667
Pronouns: He/Him
Staff
|
Post by wavey. on Oct 5, 2018 10:11:03 GMT -5
Maybe Nicki was right? hitsdailydouble.com/rumor_millThursday, October 4, 2018 A BUNDLE OF TROUBLESo how do labels earn big chart debuts for titles outside the streaming/hip-hop sweet spot—established pop, rock and country acts, typically with upper-demo audiences? For any act that’s a substantial live draw, it’s the ticket or merch bundle to the rescue. Ticket or D2C bundles can give even a floundering release enough extra traction to score big first-week numbers. The antiquated Nielsen rules governing ticket bundles have some loopholes, but the ones surrounding merch are infinitely murkier and subject to much greater exploitation. Unlike ticket bundles, merch bundles don’t require redemptions—an arbitrary and inconsistent distinction that opens up huge opportunities for abuse. (What’s permitted from D2C and what’s tossed out, meanwhile, is often incredibly subjective.) What kind of abuse? Insiders say that in some cases there are bundles for posters and T-shirts that are never printed, “purchased” by phony email accounts that have been bought in bulk—no redemptions needed—and that anyone with a checkbook can hire a call center to drive the whole sham enterprise. We’re shocked. Shocked, we tell you.You can’t blame the players for playing according to the existing ground rules, but even those who are winning the game week to week agree that the situation has gotten out of hand. As one insider put it, “They don’t even make it hard to cheat.” It used to be that Billboard could point to its charts as the last vestige of its otherwise shredded credibility, but the widespread gaming going on nowadays puts even that in jeopardy. Nicki was doing it too. But this HDD article is on point. Billboard has turned their album chart into a joke. They need to close the loopholes asap. And they should not focus just on merch bundles. Ticket bundles are also awful and can be manipulated! She did after finding out that they initially did that, and they wouldn't count her purchases made in middle of that week. Travis just played the game smarter. |
|
kanimal
3x Platinum Member
Joined: May 2014
Posts: 3,048
|
Post by kanimal on Oct 5, 2018 10:30:10 GMT -5
Maybe Nicki was right? hitsdailydouble.com/rumor_mill It used to be that Billboard could point to its charts as the last vestige of its otherwise shredded credibility, but the widespread gaming going on nowadays puts even that in jeopardy. Hits Daily Double and BuzzAngle also count the D2C/merch bundles, so I'm not sure why they're using this as a Billboard hit piece. If they want to spur action and credibility, wouldn't it make more sense to eliminate merch bundles from their OWN chart? |
|
Choco
Diamond Member
james dean daydream
Joined: February 2009
Posts: 27,985
My Charts
Pronouns: he/him
|
Post by Choco on Oct 5, 2018 10:39:15 GMT -5
It's HDD. They like to throw crap at BB, sometimes with merit... sometimes it's just for the clicks. The bundles inflate numbers which makes it look like the album ain't dead as a commercial format. It's the same logic used to include single song streams into the equation, which makes it look like albums that carry a couple of hit singles are much bigger than what they'd be with sales only (remember when More Life sold less than 1k and still charted high and we all thought that was weird? we weren't ready for what was coming...)
|
|
|
|
Post by areyoureadytojump on Oct 5, 2018 12:41:29 GMT -5
^^Exactly, kanimal!
|
|
Deleted
Joined: January 1970
Posts: 0
|
Post by Deleted on Oct 5, 2018 13:46:08 GMT -5
The antiquated Nielsen rules governing ticket bundles have some loopholes, but the ones surrounding merch are infinitely murkier and subject to much greater exploitation. Unlike ticket bundles, merch bundles don’t require redemptions—an arbitrary and inconsistent distinction that opens up huge opportunities for abuse. (What’s permitted from D2C and what’s tossed out, meanwhile, is often incredibly subjective.) What kind of abuse? Insiders say that in some cases there are bundles for posters and T-shirts that are never printed, “purchased” by phony email accounts that have been bought in bulk—no redemptions needed—and that anyone with a checkbook can hire a call center to drive the whole sham enterprise. We’re shocked. Shocked, we tell you.Eh. The problem isn't the merch bundling, it's just the basic concept of fraud, which is hardly a new development. This is not much different from when labels used to overship albums to get the certs, then buy the unsold albums back from retailers later. Digital just makes it easier to circumvent the hassle of buybacks now. I don't think requiring redemptions would hinder the fraudulent setup mentioned above much. In slight fairness to HDD, I am not sure it could officially separate the bundle amounts from other sales even if it wanted to. Nielsen categorizes bundle purchases as "internet sales," which means they're lumped in with online retail orders from Amazon, artists' websites, etc. If someone does a tour bundle you could fairly assume the majority of internet sales come from that, but you'd never be able to pinpoint the exact amount within a reasonable margin of error. The merch bundles would be even harder to estimate - IMO a fan who would order artist merch online is more likely to buy a CD anyway, so why act like it's different if they choose to buy it in a bundle. I assume BuzzAngle has the same issue - if Nielsen is now allowing bundles to happen (and more to the point, if labels are currently not required to give redemptions a unique marker or barcode that would distinguish them from 'traditional' online orders), there's really not much BuzzAngle can do to combat that. HDD hates Billboard, but pretty much has no choice but to do whatever Billboard is doing to remain semi-relevant to anyone. I don't know if I should feel sorry for them or just laugh at their eternal Jan Brady syndrome. I remember them holding out on mentioning SPS figures in their projected-sales articles for weeks before finally caving in. |
|
kanimal
3x Platinum Member
Joined: May 2014
Posts: 3,048
|
Post by kanimal on Oct 5, 2018 16:44:24 GMT -5
In slight fairness to HDD, I am not sure it could officially separate the bundle amounts from other sales even if it wanted to. Nielsen categorizes bundle purchases as "internet sales," which means they're lumped in with online retail orders from Amazon, artists' websites, etc. If someone does a tour bundle you could fairly assume the majority of internet sales come from that, but you'd never be able to pinpoint the exact amount within a reasonable margin of error. The merch bundles would be even harder to estimate - IMO a fan who would order artist merch online is more likely to buy a CD anyway, so why act like it's different if they choose to buy it in a bundle. I assume BuzzAngle has the same issue - if Nielsen is now allowing bundles to happen (and more to the point, if labels are currently not required to give redemptions a unique marker or barcode that would distinguish them from 'traditional' online orders), there's really not much BuzzAngle can do to combat that. Maybe I'm too naive or just flat-out misinterpreting something, but I always assumed that the "Nielsen categorizes bundle purchases as Internet sales" bit concerned their outbound reporting rather than their inbound reporting. Meaning: Nielsen gets data for all the major points of purchase, but it chooses to lump them together in the reports it distributes to subscribers. In other words, Nielsen gets individual data from Amazon.com, Bestbuy.com, Target.com, the artist's official website (where bundles come into play), etc. Then Nielsen combines them into a single "Internet Sales" line on its report. If not, then how else would it be getting the information? In a consolidated report from the label? If that's the case, then we have bigger issues with the charts than bundles. And I'm almost positive I remember a situation from a while back in which BuzzAngle and/or Hits boasted about their emphasis on getting precise point-of-sale data (as opposed to using weighted samples). |
|
HolidayGuy
Diamond Member
Joined: December 2003
Posts: 33,923
|
Post by HolidayGuy on Oct 5, 2018 16:49:43 GMT -5
Hoping the Nielsen results match HITS' sales chart at the top, as that would mean... after 53 years in the business, Cher has the No. 1-selling album in the USA for the first time in her career.
|
|
Deleted
Joined: January 1970
Posts: 0
|
Post by Deleted on Oct 5, 2018 17:16:14 GMT -5
In slight fairness to HDD, I am not sure it could officially separate the bundle amounts from other sales even if it wanted to. Nielsen categorizes bundle purchases as "internet sales," which means they're lumped in with online retail orders from Amazon, artists' websites, etc. If someone does a tour bundle you could fairly assume the majority of internet sales come from that, but you'd never be able to pinpoint the exact amount within a reasonable margin of error. The merch bundles would be even harder to estimate - IMO a fan who would order artist merch online is more likely to buy a CD anyway, so why act like it's different if they choose to buy it in a bundle. I assume BuzzAngle has the same issue - if Nielsen is now allowing bundles to happen (and more to the point, if labels are currently not required to give redemptions a unique marker or barcode that would distinguish them from 'traditional' online orders), there's really not much BuzzAngle can do to combat that. Maybe I'm too naive or just flat-out misinterpreting something, but I always assumed that the "Nielsen categorizes bundle purchases as Internet sales" bit concerned their outbound reporting rather than their inbound reporting. Meaning: Nielsen gets data for all the major points of purchase, but it chooses to lump them together in the reports it distributes to subscribers. In other words, Nielsen gets individual data from Amazon.com, Bestbuy.com, Target.com, the artist's official website (where bundles come into play), etc. Then Nielsen combines them into a single "Internet Sales" line on its report. If not, then how else would it be getting the information? In a consolidated report from the label? If that's the case, then we have bigger issues with the charts than bundles. And I'm almost positive I remember a situation from a while back in which BuzzAngle and/or Hits boasted about their emphasis on getting precise point-of-sale data (as opposed to using weighted samples). Ohhh, that would make sense. You're not naive, I just didn't think of it from that angle. I don't recall BuzzAngle or Hits saying that they get precise data, but I don't doubt your memory on it. (I also don't know if I would believe them, but that speaks more to what I think of HDD.) I always assumed Nielsen gets its data from each retailer, but that the predicament with bundles comes in when the retailer is say, travisscott.com and Travis lumps in his bundled purchases and standalone album sales into one figure. For the tour bundles, I'm not sure what name would show up - the ticket purchase will be through Ticketmaster or or the venue, but those do require redemption. Do ticket bundles usually direct customers to an artist or label-owned website, or does the redemption occur on the ticket seller's website? Again, I always assumed the former (in which case there's no way for Nielsen to distinguish actual sales from redeemed albums on its end) but I've yet to buy one of these bundles so I don't know. |
|
Nick
8x Platinum Member
Joined: August 2004
Posts: 8,779
|
Post by Nick on Oct 5, 2018 17:48:26 GMT -5
BUILDING ALBUM SALES CHART
Chart Date: 10/05/2018 (Week Ending: 10/04/2018)
Status: Final
Sales
LW TW Artist / Album Label Sales Index % Change
-- 1
CHER
DANCING QUEEN
WARNER BROS. 155,952 --
-- 2
LIL WAYNE
THA CARTER V
YOUNG MONEY 140,155 --
-- 3
LOGIC
YSIV
DEF JAM 128,806 --
-- 4
TOM PETTY & THE HEARTBREAKERS
AN AMERICAN TREASURE
WARNER BROS. 32,624 --
-- 5
KEVIN GATES
LUCA BRASI 3
ATLANTIC 19,667 --
1 6 JOSH GROBAN
BRIDGES
REPRISE 16,295 -83%
5 7 EMINEM
KAMIKAZE
SHADY/AFTERMATH/INTERSCOPE 16,041 -24%
4 8 CARRIE UNDERWOOD
CRY PRETTY
CAPITOL NASHVILLE 14,801 -47%
8 9 LAUREN DAIGLE
LOOK UP CHILD
CENTRICITY 14,337 -22%
-- 10 ALT-J
REDUXER
BMG 13,487 --
20 11 THE GREATEST SHOWMAN
SOUNDTRACK
ATLANTIC 12,035 -4%
-- 12 BEARTOOTH
DISEASE
RED BULL 10,881 --
-- 13 ELEVATION WORSHIP
HALLELUJAH HERE BELOW
ELEVATION WORSHIP 10,788 --
10 14 PAUL MCCARTNEY
EGYPT STATION
CAPITOL 9,920 -39%
-- 15 ROD STEWART
BLOOD RED ROSES
REPUBLIC 9,279 --
-- 16 PALAYE ROYALE
BOOM BOOM ROOM
SUMERIAN 9,161 --
-- 17 LORETTA LYNN
WOULDN'T IT BE GREAT
LEGACY 8,941 --
15 18 BTS
LOVE YOURSELF 'ANSWER'
BIGHIT/COLUMBIA 7,911 0%
-- 19 ARETHA FRANKLIN
THE ATLANTIC SINGLES COLLECTION
RHINO/ATLANTIC 6,952 --
14 20 MACHINE GUN KELLY
BINGE
BAD BOY/INTERSCOPE 6,709 -27%
21 5 SECONDS OF SUMMER
YOUNGBLOOD
CAPITOL 6,623 --
11 22 TONY BENNETT & DIANA KRALL
LOVE IS HERE TO STAY
VERVE/COLUMBIA 6,133 -52%
18 23 DIERKS BENTLEY
THE MOUNTAIN
CAPITOL NASHVILLE 6,115 0%
3 24 PRINCE
PIANO & A MICROPHONE 1983
WARNER BROS. 5,870 -82%
-- 25 RICK AND MORTY
SOUNDTRACK
SUB POP 5,612 --
23 26 COLE SWINDELL
ALL OF IT
WARNER BROS. NASHVILLE 4,719 -3%
-- 27 CYPRESS HILL
ELEPHANTS ON ACID
BMG 4,483 --
16 28 LUKE COMBS
THIS ONE'S FOR YOU TOO
RIVER HOUSE/COLUMBIA NASHVILLE 4,334 -22%
22 29 HAMILTON
ORIGINAL BROADWAY MUSICAL
UPTOWN/ATLANTIC 4,317 0%
26 30 ED SHEERAN
DIVIDE
ATLANTIC 4,048 1%
21 31 ARIANA GRANDE
SWEETENER
REPUBLIC 4,025 -7%
17 32 WILLIE NELSON
MY WAY
LEGACY 3,618 -33%
28 33 MAMMA MIA! HERE WE GO AGAIN
SOUNDTRACK
CAPITOL 3,477 3%
27 34 CHRIS STAPLETON
TRAVELLER
MERCURY NASHVILLE 3,348 -3%
43 35 PANIC! AT THE DISCO
PRAY FOR THE WICKED
CRUSH/FUELED BY RAMEN 3,324 -4%
25 36 TAYLOR SWIFT
REPUTATION
BIG MACHINE/BMLG 3,296 -6%
31 37 BOB SEGER
GREATEST HITS
CAPITOL 3,282 8%
34 38 METALLICA
METALLICA
BLACKENED 3,156 -2%
24 39 GRETA VAN FLEET
FROM THE FIRES
LAVA/REPUBLIC 3,031 -14%
29 40 IMAGINE DRAGONS
EVOLVE
KIDINAKORNER/INTERSCOPE 2,963 -10%
35 41 KANE BROWN
KANE BROWN
RCA NASHVILLE/ZONE 4 2,878 1%
48 42 TROYE SIVAN
BLOOM
CAPITOL 2,799 -1%
37 43 POST MALONE
BEERBONGS & BENTLEYS
REPUBLIC 2,708 -2%
33 44 DRAKE
SCORPION
YMCMB/REPUBLIC 2,600 -11%
-- 45 TOM PETTY & THE HEARTBREAKERS
GREATEST HITS
MCA 2,583 --
-- 46 KANYE WEST
YE
G.O.O.D/DEF JAM 2,350 --
50 47 RUSS
ZOO
COLUMBIA 2,071 -2%
45 48 NICKI MINAJ
QUEEN
YMCMB/REPUBLIC 2,052 1%
41 49 KENNY CHESNEY
SONGS FOR THE SAINTS
BLUE CHAIR/WARNER BROS. NASHVILLE 2,012 -9%
40 50 BOB MARLEY & THE WAILERS
LEGEND
ISLAND 2,011 -10%
|
|
Nick
8x Platinum Member
Joined: August 2004
Posts: 8,779
|
Post by Nick on Oct 5, 2018 17:48:53 GMT -5
Chart Date: 10/05/2018 (Week Ending: 10/04/2018)
Status: Final
SPS
LW TW ARTIST | TITLE | LABEL TOTAL CHANGE ALBUMS TEA SEA
-- 1 LIL WAYNE | THA CARTER V
YOUNG MONEY
472,580 -- 140,155 14,709 317,716
-- 2 LOGIC | YSIV
DEF JAM
173,472 -- 128,806 2,655 42,011
-- 3 CHER | DANCING QUEEN
WARNER BROS.
158,833 -- 155,952 1,126 1,755
-- 4 KEVIN GATES | LUCA BRASI 3
BREAD WINNERS' ASSOCIATION
71,289 -- 19,667 1,741 49,881
4 5 DRAKE | SCORPION
YMCMB/REPUBLIC
61,768 -3% 2,600 2,501 56,667
5 6 TRAVIS SCOTT | ASTROWORLD
CACTUS JACK/GRAND HUSTLE/EPIC
54,704 -4% 1,021 1,459 52,224
3 7 EMINEM | KAMIKAZE
SHADY/AFTERMATH/INTERSCOPE
53,940 -17% 16,041 1,533 36,366
6 8 POST MALONE | BEERBONGS & BENTLEYS
REPUBLIC
47,393 8% 2,708 2,629 42,056
9 9 JUICE WRLD | GOODBYE & GOOD RIDDANCE
GRADE A/INTERSCOPE
35,139 2% 524 1,611 33,004
-- 10 TOM PETTY & THE HEARTBREAKERS | AN AMERICAN TREASURE
WARNER BROS.
35,099 -- 32,624 1,037 1,438
11 11 ARIANA GRANDE | SWEETENER
REPUBLIC
33,655 1% 4,025 1,808 27,822
15 12 XXXTENTACION | ?
BAD VIBES FOREVER
32,969 11% 1,499 1,441 30,029
12 13 NICKI MINAJ | QUEEN
YMCMB/REPUBLIC
31,192 -5% 2,052 754 28,386
16 14 CARDI B | INVASION OF PRIVACY
ATLANTIC
28,476 2% 778 2,640 25,058
14 15 LAUREN DAIGLE | LOOK UP CHILD
CENTRICITY
27,018 -9% 14,337 2,086 10,595
32 16 THE GREATEST SHOWMAN | SOUNDTRACK
ATLANTIC
26,157 52% 12,035 2,223 11,899
17 17 YOUNG THUG | ON THE RVN - EP
ATLANTIC
25,068 -3% 945 605 23,518
19 18 LUKE COMBS | THIS ONE'S FOR YOU TOO
RIVER HOUSE/COLUMBIA NASHVILLE
24,893 6% 4,334 2,562 17,997
10 19 6LACK | EAST ATLANTA LOVE LETTER
LVRN/INTERSCOPE
23,807 -29% 787 233 22,787
23 20 ED SHEERAN | DIVIDE
ATLANTIC
23,639 14% 4,048 2,138 17,453
7 21 CARRIE UNDERWOOD | CRY PRETTY
CAPITOL NASHVILLE
21,562 -39% 14,801 763 5,998
27 22 BTS | LOVE YOURSELF 'ANSWER'
BIGHIT/COLUMBIA
21,495 12% 7,911 943 12,641
29 23 POST MALONE | STONEY
REPUBLIC
20,911 14% 1,013 668 19,230
28 24 XXXTENTACION | 17
BAD VIBES FOREVER/EMPIRE
20,578 10% 1,101 458 19,019
26 25 LIL BABY | HARDER THAN EVER
QUALITY CONTROL/MOTOWN/CAPITOL
19,970 2% 287 467 19,216
20 26 MAC MILLER | SWIMMING
WARNER BROS.
19,740 -11% 1,801 305 17,634
18 27 YOUNGBOY NEVER BROKE AGAIN | 4RESPECT 4FREEDOM 4LOYALTY 4WHATIMPORTANT
NEVER BROKE AGAIN
19,367 -23% 250 257 18,860
30 28 5 SECONDS OF SUMMER | YOUNGBLOOD
CAPITOL
18,548 1% 6,623 1,953 10,435
34 29 OZUNA | AURA
VP/DIMELO VI
17,823 8% 755 376 16,692
2 30 JOSH GROBAN | BRIDGES
REPRISE
17,382 -82% 16,295 284 803
35 31 IMAGINE DRAGONS | EVOLVE
KIDINAKORNER/INTERSCOPE
16,688 4% 2,963 1,778 11,947
33 32 TRIPPIE REDD | LIFE'S A TRIP
TENTHOUSAND
16,652 -3% 155 158 16,339
36 33 TAYLOR SWIFT | REPUTATION
BIG MACHINE/BMLG
16,356 2% 3,296 931 12,129
37 34 MIGOS | CULTURE II
QUALITY CONTROL/MOTOWN/CAPITOL
16,162 5% 725 527 14,910
40 35 KHALID | AMERICAN TEEN
RIGHT HAND MUSIC/RCA
15,993 14% 767 369 14,857
38 36 MAROON 5 | RED PILL BLUES
222/INTERSCOPE
15,883 5% 998 2,234 12,651
45 37 BAZZI | COSMIC
IAMCOSMIC/ATLANTIC
15,062 7% 361 989 13,712
44 38 PANIC! AT THE DISCO | PRAY FOR THE WICKED
CRUSH/FUELED BY RAMEN
15,038 1% 3,324 1,991 9,723
-- 39 HAMILTON | ORIGINAL BROADWAY MUSICAL
UPTOWN/ATLANTIC
14,984 -- 4,317 276 12,755
-- 40 ELEVATION WORSHIP | HALLELUJAH HERE BELOW
ELEVATION WORSHIP
14,936 -- 10,788 447 3,701
13 41 YOUNG DOLPH | ROLE MODEL
PAPER ROUTE/EMPIRE
14,918 -51% 566 180 14,172
50 42 KENDRICK LAMAR | DAMN.
TDE/AFTERMATH/INTERSCOPE
14,640 19% 1,696 352 12,592
21 43 MACHINE GUN KELLY | BINGE
BAD BOY/INTERSCOPE
14,039 -35% 6,709 621 6,709
42 44 DAN + SHAY | DAN + SHAY
WARNER BROS./WARNER MUSIC NASHVILLE
13,926 2% 1,258 1,811 10,857
49 45 KANE BROWN | KANE BROWN
RCA NASHVILLE/ZONE 4
13,836 0% 2,878 898 10,060
-- 46 BEARTOOTH | DISEASE
RED BULL
13,800 -- 10,881 257 2,662
48 47 CHRIS STAPLETON | TRAVELLER
MERCURY NASHVILLE
13,671 2% 3,348 984 9,339
-- 48 ALT-J | REDUXER
BMG
13,665 -- 13,487 45 133
47 49 EMINEM | CURTAIN CALL
SHADY/AFTERMATH/INTERSCOPE
13,467 2% 1,459 877 11,131
46 50 LIL UZI VERT | LUV IS RAGE 2
GENERATION NOW/ATLANTIC
13,422 0% 142 187 13,093
|
|
|
|
Post by Baby Yoda Hot100Fan on Oct 5, 2018 17:50:45 GMT -5
Friday, October 5, 2018 With more than 472k, Young Money’s Lil Wayne has officially topped the HITS Top 50 Chart with his long-awaited Tha Carter V—a follow-up to 2011’s IV. This marks the third biggest debut of the year, hopping over Post Malone (461k) to land behind Drake (732k) and Travis Scott (537k).
Three other debuts make this week’s Top 5. Def Jam’s Logic has the second-biggest bow in YSIV, which finishes with approximately 173k, powered by strong D2C. And Cher’s Dancing Queen (Warner Bros.) appears at #3 with 159k, while Kevin Gates’ Luca Brasi 3 (Bread Winners’ Association) enters at #4 with 71k.
There’s also Reprise’s Tom Petty: An American Treasure—a box-set collection of previously unreleased songs, alternate takes, deep cuts and live performances—which debuts at #10 with 35k.
As the Lil Peep-XXXTentacion posthumous collab “Falling Down” continues to sell and stream, X’s own sets are elevated on the Top 50 chart. 2018’s ? (Bad Vibes Forever) goes #15-12, while 2017’s 17 (Bad Vibes Forever/Empire) jumps #28-24.
And following The Greatest Showman’s HBO release, the Atlantic set rises #32-16. Other noteworthy movers include BTS’ Love Yourself: Answer (Bighit/Columbia)—now at #22—and Post Malone’s breakout album, Stoney (Republic), which surges #29-23 as the rapper announces his Posty Fest lineup and appears in new Call of Duty commercials.
When it comes to marketshare, UMG leads with 64%, WMG follows with 26% and SME is #3 with 8%, while the indies claim 2%.
Streeting this week is Interscope’s A Star Is Born soundtrack, as well as projects from Fueled by Ramen’s twenty one pilots, Cactus Jack/G.O.O.D/Interscope’s Sheck Wes and EMI Nashville’s Eric Church. There’s also Drip Too Hard—a collaborative project by QC/Motown/Capitol’s Lil Baby, and Gunna.
As for the A Star Is Born movie, remember not to salt your popcorn. Your blubbering baby tears will have that covered.
|
|
brady47
Platinum Member
Joined: February 2013
Posts: 1,449
|
Post by brady47 on Oct 5, 2018 22:20:39 GMT -5
Damn, isn't that Cher's best numbers in a long while?
Amazing considering we're in the streaming era now and album numbers have been less than usual
|
|
HolidayGuy
Diamond Member
Joined: December 2003
Posts: 33,923
|
Post by HolidayGuy on Oct 6, 2018 13:18:18 GMT -5
^It's her biggest opening in the Nielsen era, by far. Closer to the Truth, which opened with ~ 63,000, may have had some redemptions in the first week, but by and large they came in later weeks, as the album was up and down, in and out for a while.
|
|
