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The issue dated August 24, 2002, finds the upper tier of the album survey holding firm to its core narratives while accommodating a handful of impactful new arrivals. At the summit, Bruce Springsteen retains the number one position with The Rising. Entering its second week on the tally after arriving at the peak position, the collection continues to anchor the survey amidst a bustling landscape of hip-hop and contemporary pop. Right behind it, Nelly holds at number two with Nellyville, maintaining the strong momentum that characterized its multi-week run at the top spot earlier in the summer. Eminem follows closely at number three with The Eminem Show, completing a steadfast top three that refuses to yield ground to the week's fresh contenders.
The highest debut of the cycle belongs to Scarface, whose latest studio offering, The Fix, enters immediately at number four. This strong arrival underscores the enduring commercial viability of Southern and Midwestern rap forces in the marketplace. Another prominent hip-hop arrival makes its presence felt just a couple of slots lower, as Trick Daddy bows at number six with Thug Holiday, matching its debut position on its first week on the chart. Sandwiched between these rap heavyweights is the multi-artist compilation Now 10, slipping one notch to number five in its third week after peaking at number two. Linkin Park's remix project, [Reanimation], holds steady at number seven in its second charting week, while Toby Keith's Unleashed dips slightly to number eight in its third frame following an initial week at the summit. Avril Lavigne's persistent breakout release Let Go anchors at number nine, maintaining a steady presence inside the top ten during its tenth week on the survey, and Dave Matthews Band rounds out the top tier at number ten with Busted Stuff, slipping three positions in its fourth week.
Moving further down the listing, several catalog items and mid-tier titles demonstrate interesting shifts. Norah Jones continues her remarkable, unhurried climb with Come Away With Me, advancing from number 16 to number 15 in its twenty-fourth week on the chart and establishing a new peak-to-date of 15. The album has proven to be one of the most resilient acoustic-pop successes of the period, slowly winning over a broad adult demographic. Similarly, John Mayer's Room For Squares creeps up one spot to number nineteen in its thirty-third week, quietly maintaining its grip near the upper fifth of the survey. Further down, long-running acoustic and folk-leaning sets such as Jack Johnson's Brushfire Fairytales make notable upward moves, jumping from number 41 to number 37 in its twenty-seventh week.
Elsewhere on the tally, urban contemporary and pop releases continue to populate the middle stretches with varying degrees of momentum. Ashanti's self-titled blockbuster sits safely at number sixteen in its nineteenth week, while newcomer Amerie holds at number seventeen with All I Have in its second charting frame. Mario's self-titled project moves up two notches to number eighteen. At the same time, veteran acts and seasonal compilation series experience natural cyclical descents, leaving room to observe smaller regional hip-hop entries and rock releases trying to gain traction in the lower quadrants. The overall portrait is one of established blockbusters consolidating their gains while fresh product tests the resilience of the late-summer purchasing public.
