Chart Moves: Postal Service's 'Give Up' Makes 10th Anniversary Return to Charts

The Postal Service perform during Day 2 of the 2013 Coachella Music Festival on April 13, 2013 in Indio, California.

Getty Images for Coachella

This week on the Billboard 200 albums chart, Justin Timberlake's The 20/20 Experience fell from the No. 1 slot after a three-week reign, letting Paramore open atop the list with its self-titled album (106,000 according to Nielsen SoundScan). Brad Paisley just missed his first No. 1, as Wheelhouse rolled in at No. 2 with 100,000.

Elsewhere on the Billboard 200 this week there were a number of movers and shakers, as usual. Let's take a look at some of them:

-- The Postal Service, Give Up, No. 45: The Postal Service's million-selling album Give Up notches its best rank ever on the Billboard 200, as its 10th anniversary reissue reenters at No. 45. The set, which saw its sales combined with the original 2003 release, sold 11,000 copies last week -- the album's third-biggest sales week. (Only two weeks over the Christmas holiday of 2004 were larger for the set.)

First released in February of 2003, the Give Up album has sold 1.1 million in the U.S. The new reissue includes 15 bonus tracks, including two newly recorded songs. In the album's initial run on the Billboard 200 chart, it spent 31 weeks on the list between March 2004 and April 2005, peaking at No. 114.

-- Academy of Country Music Awards: The annual Academy of Country Music Awards broadcast spurs a number of big gains on the Billboard 200, as this week's tally reflects the first full week of impact after the April 7 show. Performances on the CBS telecast triggers increases for 10 albums within the top 40 this week. The largest unit gain belongs to Miranda Lambert's Four the Record, which rises 66-39 with 12,000 (up by 5,000). For the week ending April 14, country album sales grew 8% to 999,000.

On the rest of the chart, there was a notable gain by Kelly Clarkson and a bevy of debuts from the likes of Device, James Blake, Jake Miller, Boney James and Jake Bugg.

-- Device, Device, No. 11: Not to be confused with the short-lived pop/rock band of the 1980s, this new act debuts at No. 11 and is led by Disturbed's David Draiman. Its debut set enters with 35,000 and also bows at No. 3 on Hard Rock Albums. Lead track "Vilify" rises 7-6 on Active Rock.

-- Kelly Clarkson, Greatest Hits: Chapter One, No. 31: After two performances on TV last week, the original "American Idol" takes a hike up the chart with a 41% increase (rising 46-31). Clarkson returned to "Idol" (April 11) for a performance of new single "People Like Us" and the Academy of Country Music Awards to sing her recent country hit "Don't Rush" (April 7).

-- James Blake, Overgrown, No. 32: After spending 36 weeks on Heatseekers Albums with his self-titled debut, the British dubstep singer/songwriter returns with his sophomore set, hitting a new chart high and earning his best sales week (14,000). It also launches at No. 1 on Dance/Electronic Albums.

-- Boney James, The Beat, No. 54: The saxophonist debuts this week on the Billboard 200 with The Beat, and also at No. 1 on Contemporary Jazz albums marking his seventh chart-topper. He's now tied for the fourth-most No. 1s on the list with the Rippingtons. Kenny G has the most No. 1s (15), while Fourplay (nine) and George Benson (eight) follow.

-- Jake Miller, The Road Less Traveled (EP), No. 55: The 20-year-old Washington, D.C., rapper makes a splash with his second EP, selling 8,000. That's twice as many sold in one week than what his first EP, last year's Spotlight, has sold to date. Until this week, Miller had only ever charted on our new and developing artists chart: Uncharted, peaking at No. 7 last December.

-- Jake Bugg, Jake Bugg, No. 75: The British singer's debut lands with 6,000 while current single "Lightning Bolt" is just bubbling under the threshold of the Triple A airplay chart, with 109 spins from 15 reporting radio stations (up 43%). "Bolt" also got support from iTunes last week as its free single of the week. It's no surprise then to see that 71% of the album's first week came from digital download sales (the bulk of which was likely iTunes-driven).