Roddy Ricch has cemented his position in the rap game, and we don’t expect he’ll be going anywhere any time soon. The young artist is not only talented, creating insanely catchy melodies out strange noises, he’s also got a good head on his shoulders– he’s mature for his young age, as he’s continuously proven both in his reflective lyrics and in interviews. Perhaps it’s the Nipsey Hussle influence, but perhaps it’s also just who Roddy is.

The artist was already bubbling when he delivered his Feed the Streets 2 mixtape in 2018, and by 2019, with the release of “Racks in the Middle,” his clout began to reach new heights. He capped off the year by delivering his debut album Please Excuse Me for Being Anti-Social, which shattered expectations, led by the phenomenal success of “The Box”– apparently, no one was expecting the lurching record to take off as it did, because the label hadn’t even shot a music video for the song at the time.

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Now that Roddy is a certified super-star-in-the-making, we’re taking a look at some of the best songs he’s released in his short career so far, while we anticipate new music from the rapper. If you’re new to Roddy Ricch’s catalogue, let this list be your guide for essential listening.

Let us know your favorite Roddy Ricch songs in the comments.

Fucc It Up

Roddy Ricch’s kicks off his debut mixtape, Feed The Streets, with the unrelenting “Fucc It Up” and he doesn’t slow down from there, setting the melodic, charismatic tone for the rest of the mixtape (not to mention his entire career). Despite the fact that Roddy Ricch may not sound like where he’s from– Compton– what he does sound like is himself. Since day one, Roddy Ricch has had a distinct sound and he hasn’t strayed from it, he’s remained true to himself.

A few electronic keys signal the start of “Fucc It Up,” before Roddy Ricch proceeds to go in, weaving his way through the keys while the boom of the bass contrasts the natural pitch of his vocals. Not only does the record set the tone for the project in terms of style and sound, it paints the scene– a man who is used to the streets but is acclimating to a life of luxury. 

LISTEN.

Position

It just so happens that the first three songs on Feed the Streets are back-to-back-to-back fire. We can assume this is by design, as it ensures you are immediately hooked. “Position” has one of the hooks that will be stuck in your head, with Roddy’s voice auto-tuned slightly to create an even more pitched up feeling, as the rapper elongates his words, creating melodies with each bar. In fact, each bar seems to try out a new type of flow, some more passionate than others, showing the breadth of Roddy’s abilities (yet, he’s explored even more since). Roddy has an uncanny ability to make his vocals feel intrinsically entangled with the beat. 

The record is another reminder of where Roddy came from and where he’s heading– frequent themes in his music, as a young artist who is still getting comfortable with his success. One thing is for sure though, he won’t be heading back to any type of broke boy circumstance. 

LISTEN.

Sak Passe

“Sak Passe” rounds out the trio of opening records found on Roddy Ricch’s very first mixtape, and insanely strong introduction to the rap game, Feed the Streets. Clearly, Roddy was hungry. Not just that, but he was hungry to share with his friends and family– one of the most prominent themes within Roddy’s music is taking care of his own and spreading the wealth. 

“Sake Passe,” produced by Joey Trife and CashMoneyAP, begins with classical-sounding piano keys before a burst of bass breaks through the beat, taking over and pushing the piano keys to the background. Roddy delivers one of his most heartfelt hooks on the record: “We fed the streets, I had to flood it,” he raps, his voice aching with melody. “I wanna fuck with my niggas / Then take my niggas to the top of the world,” he says later, making a promise he’s probably keeping as we speak.

LISTEN.

HoodRicch

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“HoodRicch” helped cap off the first Feed the Streets mixtape, as Roddy Ricch envisions what his life would look like after coming up out of the streets. “I came from the bottom lil nigga / All I ever dreamt about was being hood ricchhhhh,” he croons. The beat is cinematic, adding to the dream-like quality of the record. It also has a bit of a West Coast flare to it thanks to hints of a wobbly synths that bubble below the drums, which isn’t the norm for Roddy, who tends to lean more into Atlanta’s melodic trap style. Nonetheless it’s a stand-out from the rapper’s young career.

LISTEN.

Quality

A melodic howl signals the start of “Quality,” and are littered throughout the beat, showcasing Roddy’s penchant for unique, earworm-type ad-libs that become an integral part of the record– think “The Box.” A few piano keys then set the tone for the smooth record that finds Roddy name-dropping artists he’s looking to emulate, including Kanye West, Meek Mill, and DJ Drama. Of course, he would eventually connect with Meek Mill directly, leading to collaborations between the two on top of a relationship. As Roddy’s revealed in interviews since, he was in the process of working on Feed the Streets 2 at a studio in Atlanta when he first met Meek Mill.

LISTEN.

Blue Streak

Yep, this song is another one that finds Roddy crooning effortlessly over a piano-laden beat. Roddy definitely loves his piano as a musical backdrop, however it somehow doesn’t become repetitive because the style and type of keys is often changing. Here, it’s something a bit more mellow and minimal from producer Pinnacle, who even puts a pause on the drums from time to time, making Roddy’s lyrics and voice the main focus. 

LISTEN.

Boom Boom Room

“Boom Boom Room” became a low-key fan-favorite off Roddy Ricch’s debut album, Please Excuse Me for Being Anti-Social. He would go on to drop off a visual for the song, which begins eerily enough, with the rapper climbing out of a car post-accident. With a bleeding head and a limp, he follows a girl slyly inviting him into a backdoor alley with a glowing neon sign that reads: The Boom Boom Room. Inside, the dimly-lit club is shadowed in hues of red and blue, while glowing-eyed strippers and cash circulate the rooms. It’s strange, yet it works–  the dark, spooky vibe matches that of the song. “Boom Boom Room” is another example of Roddy’s vocal acrobatics, where he provides squeaking “ah ah” ad-libs that once again permeate the piano-driven beat, becoming a part of it, while constantly looping in your head. 

The Box

“The Box” is the record that propelled Roddy Ricch’s already-buzzing career into another stratosphere. It’s the song that helped his name break out beyond just hip-hop circles, and into the pop culture dialogue. It was also the immediate stand-out on Roddy’s debut album, for basically everyone– the first time you played Please Excuse Me for Being Anti-Social, chances are you fucked with “The Box” heavily. 

While the rapper found viral success with records like “Die Young” and “Every Season,” neither charted in the way that “The Box” did– it hit #1 on the Billboard Hot 100, becoming his first song to do so, while also keeping the spot on lock for 11 straight weeks. Enough about the stats, though, it’s the song itself that’s a masterpiece, from 30 Roc’s production to Roddy’s lyrics. The inventive “eee errr” ad-lib was just the icing on the cake– although really, it’s hard to say if the song would have taken off without it– given how perfectly it meshes in the age of the short sound-bite (aka TikTok).

The record feels like a hit from the minute you press play and the cinematic sounds of an orchestra swells, giving the record an ominous, yet important feeling. That feeling proved correct, as the song has not only defined Roddy Ricch’s success but acts as a warning sign for the young artist’s endless creative energy and talent. 

LISTEN.

Nascar

“Nascar” is exactly how it sounds– it’s a fast-paced record, perfect for cruising. The production from Richie Souf and Southside, two ATL mainstays, is atmospheric and light, yet it’s all wrapped up in a sense of urgency. This is echoed by Roddy who raps passionately over the course of the three-minute record, reflecting on how his life has been zooming on by– and equally, how he himself is dashing past his fellow artists.

LISTEN.

Faces

“Faces” is the second track off Roddy’s second mixtape, Feed the Streets 2. His vocals feel particularly pitched up on the song, creating a cadence that’s a bit squeakier than usual, but proves a thrilling listen. Roddy feels like he’s full-out whining on the hook, as he admits how much his life has changed: “Nigga I can’t lie, shit changed / When I start countin’ the faces / Soon as I bust my face down / All these niggas wanna hate me now.” As much as Roddy can brag on a record, he tends to balance it out with a mature perspective–  “I just wanna make sure I got enough saved for the kids / I just wanna make sure my habits ain’t affectin’ the way I live I came up out the streets, nigga I can’t lie that’s how I live,” he ruminates. 

The Sonic-produced beat is another one that counts piano as part of its melodic nature, with skittering hi-hats and 808s rounding it out as a few of Roddy’s preferred sounds. 

LISTEN.

Down Below

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Roddy Ricch tends to have a mix of producers, some West Coast staples while others are ATLiens, thus helping curate his unique blend of trap. On “Down Below,” he has an OG behind the boards, Scott Storch, with co-production from Avedon. It’s a song that basks in its forlornness. Roddy uses this feeling of loneliness to help propel his lyrics, as he reflects on trials and tribulations of his past life. “’Member I was in the project walls, couldn’t even get a loan / Now these niggas got they hands out, if I ain’t give it, I’d be wrong / ‘Member I was in the county jail none of these bitches wasn’t pickin’ up the phone,” he raps over the simple twang of the beat.

“Down Below” acts as a reminder of where Roddy Ricch came from, or perhaps better put, it’s an ode to it– it’s as though he’s serenading his past life as he looks forward to what the future now holds, an entirely different way of life.

LISTEN.

Every Season

“Every Season” is one of Roddy Ricch’s biggest songs, at least, that was before “The Box” came along and claimed the top spot. Nonetheless, it was one of Roddy’s early viral successes, released as a single ahead of Feed the Streets 2. The production, helmed by Cassius Jay and Beezo, has the type of country-trap vibe that’s become popular this past year, while Roddy uses the instrumental to simply show off his flows. He packs quite a few different flows into this record, proving his versatility since the beat itself is rather repetitive– yet somehow, Roddy finds the pocket of the beat for every flow, making it seem all too easy. 

LISTEN.

Die Young

No Roddy Ricch best-of list would be complete without “Die Young.” The song was another in his early viral successes, and of course, production from London on da Track helped. The single dropped ahead of Feed the Streets 2, and alongside “Every Season,” it created anticipation for this up-and-coming rapper’s project to arrive. The song also came with a heavy concept, one that is easily relatable even if you’re not deep in the rap game– but the meaning behind the record became even more impactful and monumental when Roddy explained that he created the song the same day XXXTentacion died.

He told RapGenius, “The thing that inspired me making “Die Young” was that X had died that day. It was the night he passed away, I was just in the mood where, ya know, a lot of young people dying, legends, and I wanted to make something to Speaker Knockerz, Lil Snoop. It’s a lot of people that was great that died at a young age, so I wanted to make something in remembrance of them but at the same time just making people well aware of what’s been going on. I just felt some type of way about it. It wasn’t a lot of people in the studio that night either, it was just me and the gang. We was in there, just me in there going crazy.”

That spontaneous spark and heartfelt inspiration is what helped Roddy create a trap record that is for all intents and purposes– beautiful.

AI

In between dropping Feed the Streets in 2017, and Feed the Streets 2 in 2018, Roddy Ricch blessed his growing fanbase with a short little EP. The EP, titled B4 The Fame, is a collection of four songs, including one feature from West Coast rapper Skeme. It’s not necessarily his best work, but “AI” is worth inclusion here. It wouldn’t sound out of place on either FTS instalments, and it even looks to his future music with an early reference to the infamous “boom boom room” (!).

LISTEN.

Cream 

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“Cream” here stands for the old hip-hop adage, Cash Rules Everything Around Me. The song feels light and airy, but the subject matter is actually quite the opposite– the rapper admits to coping by way of codeine, as he laments on the hook, “I spent my whole life chasin’ the bag and runnin’ from coppers / And a nigga been drownin’ myself in these codeine problems.” Roddy Ricch doesn’t sugar coat things, he just tells it like is, which is part of his appeal– whether it’s an old vice or a new-found luxury. He stretches his voice to the whiniest corners possible as he confesses, “Cash rules everything around meeee.”

LISTEN.

Can’t Express

“Can’t Express” finds Roddy Ricch struggling– “I can’t express myself, don’t know how to start,” he begins the record, but before long, he’s weaving with the beat. Still, the song feels like a double-edged sword — he can’t express himself, so he turns to drugs dropping in one of many references to lean: “That’s why I’m double cupped up, I go to Mars.” 

LISTEN.

Project Dreams

“Project Dreams” was a pretty big look for the rapper at the time it dropped, one month after his Feed the Streets 2 mixtape. Thus the song helped the rapper capitalize off the success of FTS 2, and pushed him even further into the mainstream thanks to production from electronic producer Marshmello. Marshmallo manages to cook up a beat that’s perfect for Roddy’s slick flow, opting for something a bit more modern in it’s glitchy electronic noises, but still maintaining an easy rhythm. Roddy Ricch’s sing-song flow is in plain view, while he muses about his come-up. While the song hasn’t found a home on a formal album, it’s remained a fan-favorite.

LISTEN.

Baccseat

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“Baccseat” is found in the second half of Roddy’s debut album tracklist, making it an easy record to overlook. The low-key song features Ty Dolla $ign, and despite its placement, shouldn’t be missed. A few simple keys and guitar strings create the base of the production from Yung Lan, and while Ty contributes a “nice enough” verse, Roddy is the memorable part of the song– once again the song contains some ad-libs embedded into the beat, with a few wailing noises (that sound like ‘wa dee wa dee’, for lack of a better description), echoing behind Roddy’s verses.

LISTEN.

Big Stepper

“Big Stepper” has that country-trap twang with a guitar lick on repeat, while Roddy himself adopts a short yet inescapably melodic “mm-hmm” in his hook. The brevity of the line makes it all that more intriguing that he pulls it off as a lyric, one that will be stuck in your head the more you listen. “Big Stepper” is one of those slow-building records, where, the more you play it, the more replay value you find out of it. The two go up hand-in-hand. 

The song was released ahead of PEMFBA, with Roddy carrying it solo dolo, as he does much of the album– even when Roddy enlists a featured guest, it’s more complementary to his work than spotlight-stealing.

LISTEN.

Brand New

“Brand New” begins with a cinematic howling from Roddy and an elegant piano arrangement. It’s another piano-friendly record from Roddy, appearing on his Feed the Streets 2 mixtape. The howling becomes a frequent occurrence throughout the song, popping out every few seconds, while Roddy wails up and down about how his life is changing, as he navigates the aftereffects of attaining both fame and riches.

It’s a frequent topic for Roddy, the Compton native is trying to stay true to himself, but at the same time, it’s difficult not to change when your lifestyle is changing so drastically: “Gotta get this money, you can’t let it change you / But I can’t lie, all these hunnids got a nigga feelin’ brand new.” Roddy’s music is often littered with this type of observation of both himself and the world around him.

LISTEN.

Racks in the Middle

We had to include “Racks in the Middle” as a bonus cut. It’s technically a Nipsey Hussle song, with a feature from Roddy Ricch, however it’s become an important marker in both artists’ careers, especially because it was released right before Nipsey’s death. The song was a passing-of-the-torch moment, with a West Coast OG co-signing the youngest up and comer. 

There’s also a story behind the song, as Roddy has revealed that it was originally his song– but Nipsey heard it, and wanted it. “Nipsey just, he just hopped on all the verses. He took my shit off,” said Ricch. “The way he worked was like, he’s so particular. Everybody was so surprised how fast he did the video and how fast he did the turn-around of the verses because, like, even his verses, they take forever. That’s not even no shade. He was just a real perfectionist when it came to whatever he did.”

Hit-Boy cooked up the beat, Roddy Ricch was moved to hook duties, while Nipsey laid down reflective bars on both business and personal aspects of his life. The result was a 2020 Grammy award for Best Rap Performance, and equally, Nipsey’s first Grammy, received posthumously.

At this point, nobody will even bat an eyelash at Roddy Ricch‘s perceived “antisocial” ways, as the Coronavirus pandemic has the world practicing self-isolation. Perhaps he was simply ahead of the curve. In true glass-half-full fashion, it may very well be argued that Roddy has been training for a moment like this for years now, having built up the right mentality to stay productive while in lockdown mode. The man with the number one song on the Billboard charts for ten straight weeks has officially entered productivity mode, taking the opportunity to preview a new banger. 

 Roger Kisby/Getty Images

“In the house recording till April,” writes Roddy, while an unreleased track plays in the background. The song itself feels like an extension of Please Excuse Me For Being Antisocial, with melodic guitar and piano forming the basis of the instrumental. Ricch sounds like he’s in fine form, exhibiting full cadential mastery as he raises his voice into cries before letting it fall for the more rap-focused moments. “I’m a millionaire off a mixtape,” he boasts. “Got a lotta blue hundreds, crip face.”

Given that “The Box” remains a seemingly unstoppable commercial force, it seems unlikely that Roddy’s label will allow him to drop off anything new until his last release has run its course. Yet this is a new era, and artists have been known to fire off music at a higher volume than ever before. It wouldn’t be surprising to see rappers doing their part to combat waning morale through music, taking it back to the fruitful mixtape era of the early two-thousand-and-tens. Check out the preview below, and sound off — is this the type of style you want from the Compton rapper? 

In December of 2019, Roddy Ricch graced the stage at Kendrick Lamar and Top Dawg Entertainment’s Charity Concert. His debut album Please Excuse Me For Being Anti Social had just dropped and the buzz around Southern California’s newest star couldn’t have been louder. Mirroring that figurative rumble was the very real one erupting from the crowd when Ricch took the stage. He performed “Ballin” and “The Box” during his set and it must’ve been a surreal feeling. Towering over the community that cocooned him, the place that gave him the stories that paved his road to celebrity.  

Roddy Ricch is the newest fixture in hip-hop’s mainstream wheel. The success of his debut album has topped the Billboard charts and challenged records held by some of the genre’s pantheon projects like 50 Cent‘s Get Rich Or Die Tryin’. But before all the talk shows, sold-out concerts, and big-budget music videos, Roddy was born Rodrick Wayne Moore Junior to humble beginnings in Compton, California. At 8 years old he started rapping. Stylistically, his soulful vocals grew to reflectively narrate a life of struggle and survival. Melting sung melodic verses with gritty lyrical content which has become the trend. A trend that inner-city artists are perfecting given its resonation with not only avid but casual music listeners. 

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After decoding the maze of Compton’s streets as a teen, the realities of life didn’t give Ricch time to mature before delivering an awakening. He faced a number of violent and traumatic ordeals which he speaks about in the song “War Baby.” “Survived in the trenches, I’m a war baby,” he raps. “Post-traumatic stress, I know the war changed me / you can bend, but you can never break me.” That PTSD, as Roddy describes it, may come from the premature death of his best friend. He unpacks his trauma through music in a therapeutic form of expression. The sentiment bleeds into the music he produces, the product of Compton’s notorious gang culture.

“My city is known for police violence and gangs,” he explained to Complex. “That’s not good. I want my city to be known for private jets landing in that motherf*cking airport.” But it’s a process. From an earlier age, Roddy says he ran with the Compton Crips gang, explaining that all his cousins and family were Crips as well. Around the age of sixteen, Roddy was kicked out of his mother’s home, thereby having to dive deeper into the street life. Charlamagne Tha God asked Roddy during a Breakfast Club interview if it was possible to grow up in the streets of Compton and not get caught up in the gang lifestyle. “I know people who had it worse than me,” replied Roddy. “The homie come up to your door like ‘come outside you getting put on’ and ain’t nothing you can do about it.”

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Ricch dropped his debut mixtape, Feed Tha Streets, in November 2017. A project that featured both “Chase Tha Bag” & “Fucc It Up.” Yet, it wasn’t until the release of “Die Young” that everything changed rapidly for the artist. Even so, Ricch had connections with Compton’s most famous rappers prior to his national breakout. He speaks much admiration about his relationship with California hero Nipsey Hussle, even having the same “prolific” tattoo the rapper sported. He credits Nipsey for teaching him to have the mindset of an owner; not relinquishing control of his situation was the rationale. Roddy also appeared on the Grammy-winning record “Racks In The Middle” with Nip, but their ties go beyond music. He says watching how Nipsey would move taught him a great deal, noting that at times his actions spoke as loud as his words.  

He also rapped for Kendrick Lamar before he was a teenager and credits Lamar for teaching him as Nipsey did. “Kendrick Lamar taught me that life experience is an important part of being a good illustrator,” he told Complex. “When you’re illustrating a story, you have to go based off of your personal experiences. When you write about shit you don’t know about, it’s not going to sound right because you’ll miss the details.”  

That same life experience growing up in his city might’ve had a role in molding the rapper’s personal life but his musical inspirations seem untapped by California’s hip-hop influence. Undoubtedly an innovator in this era of singer-rappers, Roddy has still found a way to sport a style all his own. YG, Kendrick, Dr. Dre, and even The Game have a sound that feels innately Compton – but not Ricch. He seems to be going against the grain while also resonating at the grassroots level in Southern California. He’s been able to create a persona and brand authentic to Compton, but he doesn’t mirror it as other artists of his generation might have done. After a debut like Please Excuse Me For Being Anti-Social Roddy Ricch has become a mainstay in hip-hop culture. I look forward to hearing his collaborations with other Compton artists and how he marries that signature sound with his own.

LISTEN: Roddy Ricch – “War Baby”

Roddy Ricch has returned to what’s been proving to be his rightful place atop the charts lately. 

This week, the Compton rapper’s Please Excuse Me For Being Antisocial debut album is back at No. 1 on the Billboard 200 albums chart for the fourth nonconsecutive week after earning 79,000 equivalent album units. The project first debuted at No. 1 on December 21st. taking a leave of absence fromthe top spot a few times to make room for a few other debuts, only to return to No. 1 three more times. In its 10 weeks on the chart, the lowest the album has gone has been to No. 4.

At No. 2, Post Malone‘s Hollywood’s Bleeding climbs from No. 5 with 52,000 equivalent album units followed by Eminem‘s Music To Be Murdered By at No. 3 with 51,000 total. Debuting at No.4 this week is Green Day, who collect their 11th top 10 album with Father of All… earning 48,000 equivalent album units with 42,000 being pure album sales, boosted by a merchandise/album bundle sale from the band.

Rounding out the top 5 of the chart is Billie Eilish’s When We All Fall Asleep, Where Do We Go? which clocks 45,000 equivalent album units while Lil Wayne‘s Funeral make a large jump from No. 1 to No. 6 in its second week with 44,000 units.

The next debut of the week is awarded to Pop Smoke whose Meet The Woo V.2 marks his first visit to the top 10 on the chart as the project earns 36,000 equivalent album units with streaming accounting heavily toward the tally with 31,000 SEA units taking up the number.

The remainder of the top is hosted by Halsey’s Manic at No. 8 with 34,000 unis, Dabby’s KIRK at No.9 with 32,000 units and Taylor Swift‘s Lover at No. 10 with 31,000 total units.

Roddy Ricch is undeniably the hottest rapper in the game right now. "The Box" has been taking over the globe, thanks to TikTok, and he's now the first rapper in 2003 to have the longest-running #1 debut album on the Billboard 200, tying 50 Cent's Get Rich Or Die Trying. Please Excuse Me For Being Antisocial undoubtedly is a solid introductory effort for anyone who wasn't following him prior to commercial success.

He's currently on his North American tour in support of the album and like most rappers that enter Canadian territory, there's always the possibility of getting denied. As much as race plays a factor in it, G-Eazy has also been denied at the border so there seems to inexplicable targetting towards rappers in general, as well. Anyways, Roddy Ricch has finally made it into Canada and it appears that he has Drake to thank for that. Drake's the plug and all it took was one phone call for Roddy to get into the country. "Called @Drake and bro he got me into Canada," he tweeted with a muscle emoji. 

We're sure Canadian fans are appreciating Drake's efforts right now. Back in July, Roddy, a man of little words, simply tweeted that he spoke to Drake. Later on, he confirmed that he and Drake have a few songs together. When we can expect to hear them is unconfirmed but it seems more than likely that Drake will show face during Roddy's show tomorrow. 

Roddy Ricch has returned to the top slot on the Billboard 200 albums chart with Please Excuse Me For Being Antisocial. It marks the third nonconsecutive week that the Compton-bred emcee has claimed the crown, earning just under 95,000 equivalent album units.  The project first debuted at No. 1 in December, departing for two weeks, before returning to its glory on January 18th. This past week it made way for Eminem‘s latest outing, and now reclaims the title. The majority of its sales stem from 92,000 streaming units.

The last artist to accomplish three nonconsecutive visits to No. 1 was Billie Eilish for her When We All Fall Asleep, Where Do We Go?  That effort also returns toward the top this week, sitting the top three at No. 3 with 62,000 equivalent units. She concedes to Roddy and Em’s Music to be Murdered By which clocks 89,000 equivalent album units in its second week. Eilish’s jump can be attributed to a strong showing at the Grammy’s last Sunday that found her making history as the second artist to ever win in the top four categories in one ceremony: album of the year, record fo the year, song of the year, and best new artist.

Elsewhere on the chart, we find while Post Malone‘s Hollywood’s Bleeding hold on to the No. 5 spot with 54,000 units while Mac Miller‘s Circles dip from No. 3 to No. 6 in its second week with 56,000 units.

Dababy’s KIRK follows closely behind at No. 7 with 36,000 units while Monwybagg’s Yo’s Time Served checks in at No. 9 with 31,000 units. Closing things out is the JACKBOYS compilation project which returns to the top 10 with 30,000 units.

If there’s one newcomer that’s positioned for longevity, it’s Roddy Ricch. Since the release of Feed The Streets II, Roddy Ricch has made a strong case as to why he’s the next up. The release of Please Excuse Me For Being Antisocial only solidified that with the single, “The Box” becoming his biggest song to date.

After shooting to the top of the charts two weeks ago, the rapper has now secured the #1 spot with “The Box” on the Billboard Hot 100 for a third week in a row. The song garnered 75M US streams, according to Billboard, in the week ending on Jan. 23rd. The rapper has yet to unleash a music video for the song, although reports claim that the visuals for the single have been completed.

The strength of “The Box” is clearly enough to block out three of the biggest rappers from hitting the top spot on the chart. Future and Drake‘s “Life Is Good” maintains the #2 spot for a second week in a row. Meanwhile, Eminem and Juice WRLD’S “Godzilla” debuted at number 3 on the Billboard Hot 100. “Godzilla” previously topped the UK charts.

In related news, Roddy Ricch recently earned himself his first Grammy for Nipsey Hussle‘s “Racks In The Middle” alongside Hit-Boy. Additionally, he touched the stage with Meek Mill to perform their then-unreleased single, “Letter To Nipsey.”

Roddy Ricch is having a very fortuitous 2020. The 21-year-old Compton rapper made a case for his talent when his breakout single, "The Box," prevented Justin Bieber's "Yummy" from topping the charts earlier this month. Following Bieber's attempts and subsequent failure to debut "Yummy" at No. 1 in a panic, Bieber's ex Selena Gomez mirrored his public pleas for streams when Roddy's debut album, Please Excuse Me For Being Antisocial, posed a threat to Selena's album, Rare, debuting at No. 1. While Selena may have ultimately achieved what she set out to, it wasn't without having to resort to desperately begging fans to help her get there, all because Roddy Ricch proved to be more powerful than either of these pop stars could have ever predicted. Now, Roddy has further solidified himself as a force to be reckoned with, as "The Box" spends a second consecutive week at No. 1 on the Hot 100 Charts.

Justin Bieber‘s begging couldn’t help him secure the Billboard 200 chart No. 1 spot over Roddy Ricch, but it looks like Selena Gomez’s public pleas worked. It was revealed on Tuesday (January 21) that Gomez has secured her third consecutive No. 1 album with her recently released Rare. The project marked the first record Selena had released in four years, and it was important to the singer to see what she called her most important album to date top the charts.

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Of course, Roddy Ricch’s debut Please Excuse Me For Being Antisocial has been welcomed with open arms worldwide along with his single “The Box,” causing artists like Beiber and Gomez to repeatedly plead with their fans to stream their music. The “Yummy” singer gave detailed instructions on how fans could increase his streaming numbers while Gomez shared a photo of herself after purchasing numerous copies for her own record. She also shared a video explaining why it was important to her that Rare reach the No. 1 spot, a move that Joe Budden recently criticized her for. Roddy tweeted out to his fans, as well, telling them to stream Beiber and Gomez’s song and album, respectively.

Billboard noted that Rare came in at “112,000 equivalent album units earned” while PEMFBA lost it’s No. 1 spot and “falls one rung with 110,000 equivalent album units earned” for the week. Gomez couldn’t contain her excitement about the news on Instagram. “It’s officially out! I was a bit embarrassed asking so often for you to stream or buy my album,” she wrote. “It felt inauthentic. Thank YOU so much for making something so personal to me be a moment I’ll never forget. All I truly desire is for you all to enjoy the music and spread the love ???.”

Could the same fate be awaiting another pop star this coming week? Roddy Ricch is on top of the world to start off the year, seeing his debut album Please Excuse Me For Being Antisocial hit the top of the Billboard 200, as well as his single "The Box" becoming his first-ever chart-topper on the Billboard Hot 100. Justin Bieber really wanted to reach the pole position of the listing with his return record "Yummy," even going so far as to tell his international fans to download a virtual private network to stream the cut on repeat. That didn't end up working for him and now, Selena Gomez is trying similar tactics to dethrone the Compton rapper from his spot.