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The days of having a #1 album in the US having any weight are long gone - except with "country" acts. Although I can't quote any numbers it seems that an album debuting at #1 these days sells, what, maybe 50,000 copies in the first week? That may even be a bit high for all I know (although Towelie would disagree). And by today's standards that's a lot. That's just mind blowing. It used to be quite a few thousand more copies just to make the Top 20 yet alone #1.
Their first #1 Billboard album was OUT OF OUR HEADS. Bizarrely their next one was STICKY FINGERS and every LP after that, their last being TATTOO YOU.
US Billboard Top 200 Album Chart Peaks 1983-2005 Stones LPs
UNDERCOVER 4
DIRTY WORK 4
STEEL WHEELS 3
VOODOO LOUNGE 2
BRIDGES TO BABYLON 3
A BIGGER BANG 3
Their highest Billboard charting compilation was THROUGH THE PAST, DARLKLY (possibly because of Honky Tonk Women and Jumpin' Jack Flash finally being on an album, in this case, their debut album) and FORTY LICKS at #2, their highest charting hits comps ever, which is perhaps more of a feat with FORTY LICKS considering it was a double album.
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
Anyone know any bands that match that description?
I was interested to see that the white album has sold more than hot rocks
Was that the album with "Paul is dead" on it? If so, then there's your explanation...
nope, but that's on Beatles One, which sold triple Hot Rocks. we're getting off topic though....
i think that the stones songwriting days are over but i'd love a covers album.
Singles? No. Singles are singles, not albums. It's albums, in whatever formats an LP comes as: vinyl album, CD album, cassette album... download album. All Long Players.
There aren't any other formats that I can think of.
More like 99.9%...
Oh man! Really? 2% isn't about the other stuff, only .001%?
Talk about your favorite band.
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Re: Why Record New Music?
Posted by:
Turner68
()
Date: June 26, 2015 07:30
Because it's embarrassing for them.
Re: Why Record New Music?
Posted by:
bitusa2012
()
Date: June 26, 2015 08:54
Why record new music? They ARE supposed to be artists (musical) aren't they, you know, WITH a creative bent.
Artists create. Musical artists... record music?
I must be simple..
Artists create. Musical artists... record music?
I must be simple..
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 26, 2015 20:03
Quote
kammpberg
I want the Stones to release new music also because I want them to have another #1 album in the USA. Damn if James Taylor can do it, why can't The Stones have another #1 - been since 1981 -
The days of having a #1 album in the US having any weight are long gone - except with "country" acts. Although I can't quote any numbers it seems that an album debuting at #1 these days sells, what, maybe 50,000 copies in the first week? That may even be a bit high for all I know (although Towelie would disagree). And by today's standards that's a lot. That's just mind blowing. It used to be quite a few thousand more copies just to make the Top 20 yet alone #1.
Their first #1 Billboard album was OUT OF OUR HEADS. Bizarrely their next one was STICKY FINGERS and every LP after that, their last being TATTOO YOU.
US Billboard Top 200 Album Chart Peaks 1983-2005 Stones LPs
UNDERCOVER 4
DIRTY WORK 4
STEEL WHEELS 3
VOODOO LOUNGE 2
BRIDGES TO BABYLON 3
A BIGGER BANG 3
Their highest Billboard charting compilation was THROUGH THE PAST, DARLKLY (possibly because of Honky Tonk Women and Jumpin' Jack Flash finally being on an album, in this case, their debut album) and FORTY LICKS at #2, their highest charting hits comps ever, which is perhaps more of a feat with FORTY LICKS considering it was a double album.
Re: Why Record New Music?
Posted by:
Turner68
()
Date: June 26, 2015 20:09
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
[prince.org]
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 26, 2015 20:13
Quote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Re: Why Record New Music?
Posted by:
24FPS
()
Date: June 27, 2015 00:12
Quote
GasLightStreetQuote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
Re: Why Record New Music?
Posted by:
kammpberg
()
Date: June 27, 2015 02:02
All the more reason for the Stones to release a new album, if timed right even relatively small sales may get them a #1 album. They'll not admit it, but the Stones (KEITH as well as Mick) would love it, as would I. Great way to go out with a final #1 album in the States. Dylan's had a bunch in recent years, now James Taylor.....I want The Stones!
Re: Why Record New Music?
Posted by:
georgelicks
()
Date: June 27, 2015 03:30
‘You've Got a Hit’: How a James Taylor Album Finally Reached Number 1
The collapse of the music industry has enabled first-time No. 1 records by a slew of unlikely artists—from Tom Petty to Weird Al to Tony Bennett.
DAVID A. GRAHAM JUN 25, 2015
James Taylor is going to number one, but not just in his mind—on the Billboard charts, too. The folky singer-songwriter notched the first top record of his career this week with Before This World.
Let’s contemplate how unlikely this is. Taylor’s first record came out in 1968. Sweet Baby James, generally considered his biggest record, only made it to No. 3. These days he seems more in demand as an ad-hoc Obama administration aide—performing at the 2012 Democratic National Convention or dispatched to France after a jihadist attack. He hasn’t had a song in the Hot 100 since 1988, and even that one only made it to No. 80. The song was “Never Die Young,” a synth-adorned lite-reggae period piece that makes one yearn for the Eagles, but Taylor was apparently wise to take its counsel.
Taylor’s late-career success isn’t a fluke, though. The collapse of the music business has been bad for many people, good for some musicians, and beneficial to cash-strapped listeners. But the changes have been great for the chart prospects of aging white dudes who play guitar-based rock.
In August 2014, Tom Petty and the Heartbreakers notched the first No. 1 record of the band’s career with Hypnotic Eye. Two weeks earlier, Weird Al Yankovic did the same with Mandatory Fun. In October, Tony Bennett’s record with Lady Gaga topped the charts, but it wasn’t the first No. 1 of his decades-long career—he’d achieved that in 2011, with Duets II. (Bennett’s 54-year gap between his first chart appearance and first No. 1 is the only one to exceed Taylor’s 45-year wait.) 2011 was also the year in which Cake had its first No. 1 record, unseating Taylor Swift’s Speak Now. The sardonic Sacramento rockers didn’t go the distance, though—they were knocked off the chart the following week by, and I am not kidding you, the Decemberists.
What’s going on? Are these guys all having late-career renaissances? Probably not. You’d be hard-pressed to find many listeners who think any of the first-time No. 1 records cited above were the musical peak of the artists’ careers (except perhaps the Decemberists). What’s changing are patterns of buying in the music industry. Shaped by the Internet, music consumption has shifted away from albums, first to the buying of individual tracks, and now to streaming. The result was that the album chart was getting warped, offering an unrealistic impression of what was “popular,” even as the Hot 100 offered a more accurate look. In late 2014, Billboard changed the way it calculates the album chart to account for this:
The updated Billboard 200 will utilize accepted industry benchmarks for digital and streaming data, equating 10 digital track sales from an album to one equivalent album sale, and 1,500 song streams from an album to one equivalent album sale. All of the major on-demand audio subscription services are considered, including Spotify, Beats Music, Google Play and Xbox Music.
The shakeup seems to have had some effect. Just look three slots below Taylor on this week’s chart and you’ll see another Taylor—Taylor Swift, who has criticized royalty rates for streaming and is arguably the most influential person in the industry right now. In fact, the album chart is full of artists who are more of the zeitgeist: Scanning over the last few years of the chart, Swift, Beyoncé, Justin Timberlake, Adele, and Coldplay appear frequently, and they stick around for a long time—unlike Cake and Weird Al and co., who tend to drop out of No. 1 after just a week. The music those artists make—dancier, poppier, and more rhythm and synthesizer-based—is unquestionably closer to what contemporary music sounds like in 2015.
Even with the streams included, the number of albums being sold is way, way down. Taylor’s Before This World sold only 96,000 copies. That’s tiny; not long ago, selling fewer than 100,000 copies in week one wouldn’t land you anywhere near the top spot. Cake’s Showroom of Compassion, which hit No. 1, sold just 44,000 copies, the lowest ever for a top record. That’s not just a slide for the chart—it’s a slide for Cake, too. Two of the band’s previous records went platinum and a third went gold, but none of them got past No. 13 on the Billboard chart. Showroom topped the chart but hasn’t been certified gold.
It isn’t too hard to see what’s happening. The people who buy CDs and full-albums tend to be older, whiter, and more male than the general music-buying population. So when Tom Petty or, say, Bob Dylan (who’s had several No. 1 records in the last decade) or Bruce Springsteen (likewise) releases a new record, a small army of aging Boomers (and maybe their nostalgic children) emerges from its pop-culture cocoon and buys the new record in a shiny, shrink-wrapped jewel case. That burst of buying is enough to vault the disc to the top of today’s anemic sales numbers for a week. Just last week, the Rolling Stones’ Sticky Fingers was at No. 3 on the chart, in a fancy new edition with extra bonus tracks, which sure looks like a clever way to convince those same Boomers to buy a record they already bought on vinyl, on CD, and maybe even a third time in a previous souped-up CD edition. (And who knows, maybe on 8-track or cassette or Blu-Ray or Pono or MP3, too. These are the same fans willing to shell out hundreds of dollars to see the Stones on tour, after all!)
But since most of the music-buying population isn’t really into it, the sales peak and decline quickly—which is why most of these unlikely late-career No. 1s only last for a week. In other words, it’s great for James Taylor that he finally snagged a No. 1 record, but this is a sunny day that’s sure to end.
[www.theatlantic.com]
The collapse of the music industry has enabled first-time No. 1 records by a slew of unlikely artists—from Tom Petty to Weird Al to Tony Bennett.
DAVID A. GRAHAM JUN 25, 2015
James Taylor is going to number one, but not just in his mind—on the Billboard charts, too. The folky singer-songwriter notched the first top record of his career this week with Before This World.
Let’s contemplate how unlikely this is. Taylor’s first record came out in 1968. Sweet Baby James, generally considered his biggest record, only made it to No. 3. These days he seems more in demand as an ad-hoc Obama administration aide—performing at the 2012 Democratic National Convention or dispatched to France after a jihadist attack. He hasn’t had a song in the Hot 100 since 1988, and even that one only made it to No. 80. The song was “Never Die Young,” a synth-adorned lite-reggae period piece that makes one yearn for the Eagles, but Taylor was apparently wise to take its counsel.
Taylor’s late-career success isn’t a fluke, though. The collapse of the music business has been bad for many people, good for some musicians, and beneficial to cash-strapped listeners. But the changes have been great for the chart prospects of aging white dudes who play guitar-based rock.
In August 2014, Tom Petty and the Heartbreakers notched the first No. 1 record of the band’s career with Hypnotic Eye. Two weeks earlier, Weird Al Yankovic did the same with Mandatory Fun. In October, Tony Bennett’s record with Lady Gaga topped the charts, but it wasn’t the first No. 1 of his decades-long career—he’d achieved that in 2011, with Duets II. (Bennett’s 54-year gap between his first chart appearance and first No. 1 is the only one to exceed Taylor’s 45-year wait.) 2011 was also the year in which Cake had its first No. 1 record, unseating Taylor Swift’s Speak Now. The sardonic Sacramento rockers didn’t go the distance, though—they were knocked off the chart the following week by, and I am not kidding you, the Decemberists.
What’s going on? Are these guys all having late-career renaissances? Probably not. You’d be hard-pressed to find many listeners who think any of the first-time No. 1 records cited above were the musical peak of the artists’ careers (except perhaps the Decemberists). What’s changing are patterns of buying in the music industry. Shaped by the Internet, music consumption has shifted away from albums, first to the buying of individual tracks, and now to streaming. The result was that the album chart was getting warped, offering an unrealistic impression of what was “popular,” even as the Hot 100 offered a more accurate look. In late 2014, Billboard changed the way it calculates the album chart to account for this:
The updated Billboard 200 will utilize accepted industry benchmarks for digital and streaming data, equating 10 digital track sales from an album to one equivalent album sale, and 1,500 song streams from an album to one equivalent album sale. All of the major on-demand audio subscription services are considered, including Spotify, Beats Music, Google Play and Xbox Music.
The shakeup seems to have had some effect. Just look three slots below Taylor on this week’s chart and you’ll see another Taylor—Taylor Swift, who has criticized royalty rates for streaming and is arguably the most influential person in the industry right now. In fact, the album chart is full of artists who are more of the zeitgeist: Scanning over the last few years of the chart, Swift, Beyoncé, Justin Timberlake, Adele, and Coldplay appear frequently, and they stick around for a long time—unlike Cake and Weird Al and co., who tend to drop out of No. 1 after just a week. The music those artists make—dancier, poppier, and more rhythm and synthesizer-based—is unquestionably closer to what contemporary music sounds like in 2015.
Even with the streams included, the number of albums being sold is way, way down. Taylor’s Before This World sold only 96,000 copies. That’s tiny; not long ago, selling fewer than 100,000 copies in week one wouldn’t land you anywhere near the top spot. Cake’s Showroom of Compassion, which hit No. 1, sold just 44,000 copies, the lowest ever for a top record. That’s not just a slide for the chart—it’s a slide for Cake, too. Two of the band’s previous records went platinum and a third went gold, but none of them got past No. 13 on the Billboard chart. Showroom topped the chart but hasn’t been certified gold.
It isn’t too hard to see what’s happening. The people who buy CDs and full-albums tend to be older, whiter, and more male than the general music-buying population. So when Tom Petty or, say, Bob Dylan (who’s had several No. 1 records in the last decade) or Bruce Springsteen (likewise) releases a new record, a small army of aging Boomers (and maybe their nostalgic children) emerges from its pop-culture cocoon and buys the new record in a shiny, shrink-wrapped jewel case. That burst of buying is enough to vault the disc to the top of today’s anemic sales numbers for a week. Just last week, the Rolling Stones’ Sticky Fingers was at No. 3 on the chart, in a fancy new edition with extra bonus tracks, which sure looks like a clever way to convince those same Boomers to buy a record they already bought on vinyl, on CD, and maybe even a third time in a previous souped-up CD edition. (And who knows, maybe on 8-track or cassette or Blu-Ray or Pono or MP3, too. These are the same fans willing to shell out hundreds of dollars to see the Stones on tour, after all!)
But since most of the music-buying population isn’t really into it, the sales peak and decline quickly—which is why most of these unlikely late-career No. 1s only last for a week. In other words, it’s great for James Taylor that he finally snagged a No. 1 record, but this is a sunny day that’s sure to end.
[www.theatlantic.com]
Re: Why Record New Music?
Posted by:
HearMeKnockin
()
Date: June 27, 2015 06:11
Quote
georgelicks
But the changes have been great for the chart prospects of aging white dudes who play guitar-based rock.
Anyone know any bands that match that description?
Re: Why Record New Music?
Posted by:
Turner68
()
Date: June 27, 2015 06:45
Quote
24FPSQuote
GasLightStreetQuote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
I was interested to see that the white album has sold more than hot rocks
Re: Why Record New Music?
Posted by:
HearMeKnockin
()
Date: June 27, 2015 08:09
Quote
Turner68Quote
24FPSQuote
GasLightStreetQuote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
I was interested to see that the white album has sold more than hot rocks
Was that the album with "Paul is dead" on it? If so, then there's your explanation...
Re: Why Record New Music?
Posted by:
Turner68
()
Date: June 27, 2015 09:38
Quote
HearMeKnockinQuote
Turner68Quote
24FPSQuote
GasLightStreetQuote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
I was interested to see that the white album has sold more than hot rocks
Was that the album with "Paul is dead" on it? If so, then there's your explanation...
nope, but that's on Beatles One, which sold triple Hot Rocks. we're getting off topic though....
i think that the stones songwriting days are over but i'd love a covers album.
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 28, 2015 00:19
Quote
24FPSQuote
GasLightStreetQuote
Turner68
just found this list when i was poking around, it's the list of top selling albums of all time, worldwide, from Billboard.
[prince.org]
Geeeeezzzeeeee.... their only appearance!
266. The Rolling Stones Hot Rocks 1964-1971 10,500,000
Yes, but where are they in total sales of all singles/albums/cassettes/CDs/Downloads? I'll bet they're pretty impressive.
Singles? No. Singles are singles, not albums. It's albums, in whatever formats an LP comes as: vinyl album, CD album, cassette album... download album. All Long Players.
There aren't any other formats that I can think of.
Re: Why Record New Music?
Posted by:
keefriffhards
()
Date: June 28, 2015 00:52
Keith seems to keep saying its time for a new stones album. but it takes 2 to tango. basically i don't think Mick fancy's working with Keith. i cant see any other reason not to go into the studio. it would sell reasonably well and it would give them more credibility as artists, as in they could take a few new songs on the road next year. its frustrating...
just maybe they will get it together soon. lets hope so.
just maybe they will get it together soon. lets hope so.
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 28, 2015 01:18
The Beatles ONE - 12,410,000 according to Wikipedia for the US and 30,800,000 world wide...
The Rolling Stones HOT ROCKS - 10,500,000, although Wikipedia says 12,000,000 just for the US so... how accurate that page is obviously suspect.
The Rolling Stones HOT ROCKS - 10,500,000, although Wikipedia says 12,000,000 just for the US so... how accurate that page is obviously suspect.
Re: Why Record New Music?
Posted by:
Turner68
()
Date: June 28, 2015 01:21
it's the music business... no one will ever know the real numbers...
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 28, 2015 01:35
A BIGGER BANG was released on 9-6-05.
They've done... TWO new songs since then. That's it! Amazing. And yet not. They're 98% about touring.
They've done... TWO new songs since then. That's it! Amazing. And yet not. They're 98% about touring.
Re: Why Record New Music?
Posted by:
HearMeKnockin
()
Date: June 28, 2015 01:36
Quote
GasLightStreet
A BIGGER BANG was released on 9-6-05.
They've done... TWO new songs since then. That's it! Amazing. And yet not. They're 98% about touring.
More like 99.9%...
Re: Why Record New Music?
Posted by:
GasLightStreet
()
Date: June 28, 2015 02:02
Quote
HearMeKnockinQuote
GasLightStreet
A BIGGER BANG was released on 9-6-05.
They've done... TWO new songs since then. That's it! Amazing. And yet not. They're 98% about touring.
More like 99.9%...
Oh man! Really? 2% isn't about the other stuff, only .001%?
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