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NedKellyBandit
Well, you only need to register as a free User with your E-mail address and you have to pay nothing. You can listen to the music on sporify for free. After 20 or 30 minutes you have to listen to a 30 second advertising clip. That's all.

I was a freebie for my first year or so on Spotify. Then just got tired of ads and felt guilty about not paying. But, yes, the Free version gets you access to everything. It's becoming less popular all the time, though, while the Premium level is growing exponentially.

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LongBeachArena72

—Bobby Gentry: does not appear on Spotify at all. Apparently t the artist's request. Who does she think she is, Taylor Swift?

—Dave Clark 5: Also do not appear on Spotify, at the artist's request. Who do they think they are, Peter Gabriel?

Dave Clark is an eccentric character, and I believe he has made his wealth in other areas, like stage musicals. Those DC5 albums are out of print, and I can only get them through one CD mail order source that specializes in bootleg and out of print material.

Bobbie Gentry became disenchanted with the music biz and dropped out in 1971 after recording only 6 albums in 4 years. I've been thinking of doing an OT thread here, just to see what people here think, as many seem to like country music. Or at least in so far as it relates to the Stones. But Bobbie Gentry is a true talent, a great songwriter, singer, and musician. Most people only know that one big hit from 1967, but my introduction to her music was through a Beatles cover. My father in the mid-1970s had an 8-track called Great Songs of the Beatles, and Bobbie Gentry's version of Eleanor Rigby always stayed with me. Now I own it on CD, as an extra track on the expanded version of one of her albums.



Just last year a newspaper reporter from Mississippi was trying to track her down for an interview, but no one -- including those who worked with her -- even know where she is. She is said to be living in seclusion in the Los Angeles area.

So, in shunning the ownership of hard copy, the Spotty young upstarts are missing something essential -- but I suppose what they don't know won't hurt them.

Bobbie Gentry, Eleanor Rigby cover: [www.youtube.com]

Article by the newspaperman trying to track down Bobbie Gentry: [www.usatoday.com]

Yeah, so I just may start that Bobbie Gentry thread, sometime soon, next time I get an afternoon off, which isn't often.

This thread has been enlightening, and I wish the Spotty young set much health and happiness in their journey of musical appreciation. But I still like to do things "off the grid" and some folks still take pride in their record collection.

"It was the third of June, another sleepy, dusty Delta day..."

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LongBeachArena72

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TravelinMan
What's even more interesting is that after Taylor there are only three songs from the majority of their recording career.

Alas, only chronologically speaking. In terms of actual product, the Stones were on the downhill slide toward senescence after 1974: 15 records in the first ten years of their recording career; only 11 records in the 43 years after MT departed. (Not trying to link MT to productivity, mind you.)

We all know the big hits stopped coming after 1981 (they got middle aged and less relevant). But are you guys telling me that you weren't surprised that so few tracks with Taylor on guitar made it on that streaming list?

The biggest hits came in the 60s.

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DandelionPowderman

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LongBeachArena72

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TravelinMan
What's even more interesting is that after Taylor there are only three songs from the majority of their recording career.

Alas, only chronologically speaking. In terms of actual product, the Stones were on the downhill slide toward senescence after 1974: 15 records in the first ten years of their recording career; only 11 records in the 43 years after MT departed. (Not trying to link MT to productivity, mind you.)

We all know the big hits stopped coming after 1981 (they got middle aged and less relevant). But are you guys telling me that you weren't surprised that so few tracks with Taylor on guitar made it on that streaming list?

The biggest hits came in the 60s.

Yes, I would certainly agree with the statement that "the biggest hits came in the 60's;" there's really no disputing that. Esp when you consider that Keith essentially "flew solo" on what many people think are the band's best albums (Beggars Banquet and Let It Bleed), it's difficult to make the case that MT was an integral part of their late-60's/early 70's studio wizardry.

For me, personally, his addition happened to coincide with a flowering of creativity from The Glimmers. How much he had to do with that is infinitely debatable. Taylor's greatest contributions to the band came on stage; again, to my tastes, his presence made for the most compelling and musically inventive live version of the band, ever.

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LongBeachArena72

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DandelionPowderman

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LongBeachArena72

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TravelinMan
What's even more interesting is that after Taylor there are only three songs from the majority of their recording career.

Alas, only chronologically speaking. In terms of actual product, the Stones were on the downhill slide toward senescence after 1974: 15 records in the first ten years of their recording career; only 11 records in the 43 years after MT departed. (Not trying to link MT to productivity, mind you.)

We all know the big hits stopped coming after 1981 (they got middle aged and less relevant). But are you guys telling me that you weren't surprised that so few tracks with Taylor on guitar made it on that streaming list?

The biggest hits came in the 60s.

Yes, I would certainly agree with the statement that "the biggest hits came in the 60's;" there's really no disputing that. Esp when you consider that Keith essentially "flew solo" on what many people think are the band's best albums (Beggars Banquet and Let It Bleed), it's difficult to make the case that MT was an integral part of their late-60's/early 70's studio wizardry.

For me, personally, his addition happened to coincide with a flowering of creativity from The Glimmers. How much he had to do with that is infinitely debatable. Taylor's greatest contributions to the band came on stage; again, to my tastes, his presence made for the most compelling and musically inventive live version of the band, ever.

Don't you think that great studio tracks with more Taylor involvement, like Shine A Light, Moonlight Mile or All Down The Line could have been big hits, had they pushed them back in the day?

I guess what I'm reflecting a bit over is that the more creative they were in the early 70s (defined as breaking news ground and exploring new musical paths here), little of that very music was presented as singles.

We got TD and Happy from Exile. Both are great songs, but still safe choices as singles.



Edited 1 time(s). Last edit at 2017-04-30 17:14 by DandelionPowderman.

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DandelionPowderman

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LongBeachArena72

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DandelionPowderman

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LongBeachArena72

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TravelinMan
What's even more interesting is that after Taylor there are only three songs from the majority of their recording career.

Alas, only chronologically speaking. In terms of actual product, the Stones were on the downhill slide toward senescence after 1974: 15 records in the first ten years of their recording career; only 11 records in the 43 years after MT departed. (Not trying to link MT to productivity, mind you.)

We all know the big hits stopped coming after 1981 (they got middle aged and less relevant). But are you guys telling me that you weren't surprised that so few tracks with Taylor on guitar made it on that streaming list?

The biggest hits came in the 60s.

Yes, I would certainly agree with the statement that "the biggest hits came in the 60's;" there's really no disputing that. Esp when you consider that Keith essentially "flew solo" on what many people think are the band's best albums (Beggars Banquet and Let It Bleed), it's difficult to make the case that MT was an integral part of their late-60's/early 70's studio wizardry.

For me, personally, his addition happened to coincide with a flowering of creativity from The Glimmers. How much he had to do with that is infinitely debatable. Taylor's greatest contributions to the band came on stage; again, to my tastes, his presence made for the most compelling and musically inventive live version of the band, ever.

Don't you think that great studio tracks with more Taylor involvement, like Shine A Light, Moonlight Mile or All Down The Line could have been big hits, had they pushed them back in the day?

Definitely. For whatever reason those songs weren't pushed. If Decca weren't such bastards there would have been a live release amidst the peak of the guitar hero era and a few selections played on classic rock radio over the last 45 years that could possibly have increased awareness of Taylor, beyond die-hard Stones fans and guitar players.

Any idea what follows the top 16 songs by the Stones from Spotify? Or where you can find the number of "listens". Curious as to what Spotify users deem as best or most popular Stones songs

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rockdoc8885
Any idea what follows the top 16 songs by the Stones from Spotify? Or where you can find the number of "listens". Curious as to what Spotify users deem as best or most popular Stones songs

Unfortunately, Spotify doesn't make this kind of thing easy—at least that I'm aware of. There's a way to do it but it's pretty manual:

—Open Spotify and search on 'Rolling Stones'

—Scroll past the Popular and Merch areas to get to Albums

—Albums are listed in reverse chronological order of release (newest first)

—Locate Track 1 ("Just Your Fool") on Blue & Lonesome

—Hover your mouse over the bars in the right-most column (under the thumbs up sign); this will give you the number of streams for that track, which is currently around 5,028,000 as of this writing

—Repeat for the rest of the tracks on the album and then scroll down to the next album and go track-by-track again to look at streams for each song

—Repeat that for as long as your patience allows

I know of no report or list generated by the app; you just need to find what you're interested in and then dig in with a lil digital elbow grease.

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DandelionPowderman
Don't you think that great studio tracks with more Taylor involvement, like Shine A Light, Moonlight Mile or All Down The Line could have been big hits, had they pushed them back in the day?

I'm not sure there's any way of knowing that with any accuracy. Who knows exactly why they chose the singles they chose? To my ears, "Tumbling Dice" is much more "creative" and possibly riskier as a Stones single than "All Down the Line," but what do I know? My guess is that either "Rocks Off" or "Shine a Light" would have ultimately performed better than "Happy," though. ("Rocks Off" has a million more streams than "Happy" on Spotify, while "Shine a Light" nearly has as many as "Happy," in spite of not being "promoted.")

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DandelionPowderman
I guess what I'm reflecting a bit over is that the more creative they were in the early 70s (defined as breaking news ground and exploring new musical paths here), little of that very music was presented as singles.

We got TD and Happy from Exile. Both are great songs, but still safe choices as singles.

It's a conundrum of sorts. Is it a self-fulfilling prophecy to issue only "safe" singles ... or does it show a canny awareness on the part of the band about what the public really wants from them?

I was looking at the 68-74 period the other night, from the perspective of deep album tracks. If you leave off the two biggest streamers from each of those records, here are the numbers:

BEGGARS: 8 songs, avg of 1.5MM streams per song
LET IT BLEED: 7 songs, avg of 3MM streams per song
STICKY: 8 songs, avg of 5.3MM streams per song
EXILE: 16 songs, avg of 3MM streams per song
GHS & IORR: 8 songs each, avg of .5MM streams per song

From this point of view, the most popular "album" (at least in view of today's fans) the band ever cut was clearly Sticky Fingers. That record did not have a "Sympathy" or a "Gimme Shelter," but it had ten songs that perform on average way stronger than any other Stones record. Exile dropped significantly from the Sticky numbers and then the wheels really came off on both Goats Head Soup and It's Only Rock'n'Roill.

So does this info tell us anything about The Stones' "creativity" or their ability to "break new musical ground"? Maybe it does. It's difficult to talk about 'breaking new ground' with a band that dabbles in many different genres. But if we define this new ground with The Stones as "anything that's not a basic rocker," then maybe there's some clue here in the Spotify data.

Focusing on SF and EOMS, I would say that "Sister Morphine," "Moonlight Mile," "Torn and Frayed," "Sweet Black Angel," "Loving Cup," "Just Wanna See His Face," "Let It Loose," and "Shine a Light" are at least a bit off the beaten track (and therefore more creative?) than the typical Stones track. Those 8 tracks, taken together, average about 3MM streams apiece, which, for their era is very good performance. It doesn't appear, therefore, that the public has any predilection against Stones songs that are a bit outside their usual zone.

I think this argues in favor of your point that, had they just "goosed" some of these other tracks a bit more, they would have been bigger hits. I think the evidence shows that that might very well have happened.

As a practical matter, though, promoting one thing means not promoting something else ... what would they have cut out if they'd released some of these other songs as singles, or even promoted them by playing them live more often?

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LongBeachArena72

BEGGARS: 8 songs, avg of 1.5MM streams per song
LET IT BLEED: 7 songs, avg of 3MM streams per song
STICKY: 8 songs, avg of 5.3MM streams per song
EXILE: 16 songs, avg of 3MM streams per song
GHS & IORR: 8 songs each, avg of .5MM streams per song

From this point of view, the most popular "album" (at least in view of today's fans) the band ever cut was clearly Sticky Fingers. That record did not have a "Sympathy" or a "Gimme Shelter,"

...but it did have a U.S. stadium tour where they were playing many cuts and even the album all the way through at one point, behind a deluxe album reissue.

My guess is that instead of 2010, had the deluxe reissue of Exile and the companion video Stones in Exile followed in 2016, the number of listens for Exile songs would have been higher.

But, of course, to the average Spotify listener, 2010 is ancient history, because, you know, they have the attention span of a fly and their musical memory for anything past 3 years tends to be... spotty at best.

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LongBeachArena72

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DandelionPowderman
Don't you think that great studio tracks with more Taylor involvement, like Shine A Light, Moonlight Mile or All Down The Line could have been big hits, had they pushed them back in the day?

I'm not sure there's any way of knowing that with any accuracy. Who knows exactly why they chose the singles they chose? To my ears, "Tumbling Dice" is much more "creative" and possibly riskier as a Stones single than "All Down the Line," but what do I know? My guess is that either "Rocks Off" or "Shine a Light" would have ultimately performed better than "Happy," though. ("Rocks Off" has a million more streams than "Happy" on Spotify, while "Shine a Light" nearly has as many as "Happy," in spite of not being "promoted.")

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DandelionPowderman
I guess what I'm reflecting a bit over is that the more creative they were in the early 70s (defined as breaking news ground and exploring new musical paths here), little of that very music was presented as singles.

We got TD and Happy from Exile. Both are great songs, but still safe choices as singles.

It's a conundrum of sorts. Is it a self-fulfilling prophecy to issue only "safe" singles ... or does it show a canny awareness on the part of the band about what the public really wants from them?

I was looking at the 68-74 period the other night, from the perspective of deep album tracks. If you leave off the two biggest streamers from each of those records, here are the numbers:

BEGGARS: 8 songs, avg of 1.5MM streams per song
LET IT BLEED: 7 songs, avg of 3MM streams per song
STICKY: 8 songs, avg of 5.3MM streams per song
EXILE: 16 songs, avg of 3MM streams per song
GHS & IORR: 8 songs each, avg of .5MM streams per song

From this point of view, the most popular "album" (at least in view of today's fans) the band ever cut was clearly Sticky Fingers. That record did not have a "Sympathy" or a "Gimme Shelter," but it had ten songs that perform on average way stronger than any other Stones record. Exile dropped significantly from the Sticky numbers and then the wheels really came off on both Goats Head Soup and It's Only Rock'n'Roill.

So does this info tell us anything about The Stones' "creativity" or their ability to "break new musical ground"? Maybe it does. It's difficult to talk about 'breaking new ground' with a band that dabbles in many different genres. But if we define this new ground with The Stones as "anything that's not a basic rocker," then maybe there's some clue here in the Spotify data.

Focusing on SF and EOMS, I would say that "Sister Morphine," "Moonlight Mile," "Torn and Frayed," "Sweet Black Angel," "Loving Cup," "Just Wanna See His Face," "Let It Loose," and "Shine a Light" are at least a bit off the beaten track (and therefore more creative?) than the typical Stones track. Those 8 tracks, taken together, average about 3MM streams apiece, which, for their era is very good performance. It doesn't appear, therefore, that the public has any predilection against Stones songs that are a bit outside their usual zone.

I think this argues in favor of your point that, had they just "goosed" some of these other tracks a bit more, they would have been bigger hits. I think the evidence shows that that might very well have happened.

As a practical matter, though, promoting one thing means not promoting something else ... what would they have cut out if they'd released some of these other songs as singles, or even promoted them by playing them live more often?

I agree about your conclusions, but it would have been interesting to know how the Stones would have been perceived by the (broader?) public had they promoted the more melody and/or genre-crossing tunes in the early 70s. Would their fanbase be different? Would they have remained on a different musical path?

The numbers on Spotify today are a consequence of the choices they made back then, so we will never know..

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LongBeachArena72
("Rocks Off" has a million more streams than "Happy" on Spotify, while "Shine a Light" nearly has as many as "Happy," in spite of not being "promoted.")

It could be that in this streaming era the opening track of an album gains a lot. Even though I personally think "Rocks off" is better song than those two, but I don't think its profile is much bigger - if any - than the other two, but since EXILE ON MAIN STREET is one of those rare Stones albums that has a huge, even magical reputation, and is hailed everywhere if anyone just reads a bit musical press, I can very easily imagine that a casual listener picks up - and probably not knowing any song very well beforehand (except probably "Tumbling Dice") - the first one, listens a bit of that, concludes 'a-ha', and then goes back to Drake...


- Doxa



Edited 3 time(s). Last edit at 2017-05-01 12:19 by Doxa.

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Doxa

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LongBeachArena72
("Rocks Off" has a million more streams than "Happy" on Spotify, while "Shine a Light" nearly has as many as "Happy," in spite of not being "promoted.")

It could be that in this streaming era the opening track of an album gains a lot. Even though I personally think "Rocks off" is better song than those two, but I don't think its profile is much bigger - if any - than the other two, but since EXILE ON MAIN STREET is one of those rare Stones albums that has a huge, even magical reputation, and is hailed everywhere if anyone just reads a bit musical press, I can very easily imagine that a casual listener picks up - and probably not knowing any song very well beforehand (except probably "Tumbling Dice") - the first one, listens a bit of that, concludes 'a-ha', and then goes back to Drake...


- Doxa

Yes, Doxa, the "first track" phenomenon is definitely in play on Spotify. In fact, the deeper you go into almost any album the fewer streams each song has, as a general rule. That's why when something jumps at the very bottom of a record, like "Moonlight Mile" (the final track on Sticky Fingers), you know there's something significant going on.

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DandelionPowderman

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LongBeachArena72

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DandelionPowderman
Don't you think that great studio tracks with more Taylor involvement, like Shine A Light, Moonlight Mile or All Down The Line could have been big hits, had they pushed them back in the day?

I'm not sure there's any way of knowing that with any accuracy. Who knows exactly why they chose the singles they chose? To my ears, "Tumbling Dice" is much more "creative" and possibly riskier as a Stones single than "All Down the Line," but what do I know? My guess is that either "Rocks Off" or "Shine a Light" would have ultimately performed better than "Happy," though. ("Rocks Off" has a million more streams than "Happy" on Spotify, while "Shine a Light" nearly has as many as "Happy," in spite of not being "promoted.")

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DandelionPowderman
I guess what I'm reflecting a bit over is that the more creative they were in the early 70s (defined as breaking news ground and exploring new musical paths here), little of that very music was presented as singles.

We got TD and Happy from Exile. Both are great songs, but still safe choices as singles.

It's a conundrum of sorts. Is it a self-fulfilling prophecy to issue only "safe" singles ... or does it show a canny awareness on the part of the band about what the public really wants from them?

I was looking at the 68-74 period the other night, from the perspective of deep album tracks. If you leave off the two biggest streamers from each of those records, here are the numbers:

BEGGARS: 8 songs, avg of 1.5MM streams per song
LET IT BLEED: 7 songs, avg of 3MM streams per song
STICKY: 8 songs, avg of 5.3MM streams per song
EXILE: 16 songs, avg of 3MM streams per song
GHS & IORR: 8 songs each, avg of .5MM streams per song

From this point of view, the most popular "album" (at least in view of today's fans) the band ever cut was clearly Sticky Fingers. That record did not have a "Sympathy" or a "Gimme Shelter," but it had ten songs that perform on average way stronger than any other Stones record. Exile dropped significantly from the Sticky numbers and then the wheels really came off on both Goats Head Soup and It's Only Rock'n'Roill.

So does this info tell us anything about The Stones' "creativity" or their ability to "break new musical ground"? Maybe it does. It's difficult to talk about 'breaking new ground' with a band that dabbles in many different genres. But if we define this new ground with The Stones as "anything that's not a basic rocker," then maybe there's some clue here in the Spotify data.

Focusing on SF and EOMS, I would say that "Sister Morphine," "Moonlight Mile," "Torn and Frayed," "Sweet Black Angel," "Loving Cup," "Just Wanna See His Face," "Let It Loose," and "Shine a Light" are at least a bit off the beaten track (and therefore more creative?) than the typical Stones track. Those 8 tracks, taken together, average about 3MM streams apiece, which, for their era is very good performance. It doesn't appear, therefore, that the public has any predilection against Stones songs that are a bit outside their usual zone.

I think this argues in favor of your point that, had they just "goosed" some of these other tracks a bit more, they would have been bigger hits. I think the evidence shows that that might very well have happened.

As a practical matter, though, promoting one thing means not promoting something else ... what would they have cut out if they'd released some of these other songs as singles, or even promoted them by playing them live more often?

I agree about your conclusions, but it would have been interesting to know how the Stones would have been perceived by the (broader?) public had they promoted the more melody and/or genre-crossing tunes in the early 70s. Would their fanbase be different? Would they have remained on a different musical path?

The numbers on Spotify today are a consequence of the choices they made back then, so we will never know..

Absolutely, DP, the "data" on Spotify can only tell you so much!

I suppose you could very easily make the argument that all things considered The Stones have never made a bad decision about how to promote and position themselves in the marketplace. Which of their peers is still filling concert halls 55 years after their founding?

I had a good buddy back in the day, a guy whose musical tastes were impeccable, who was flabbergasted when Goats Head Soup came out. He couldn't believe that they would release such meandering, almost 'arty' crap, after having cornered the market on dirty down home claustrophobic decadent blues they way they had on EOMS.

I think it's safe to say that the band's enduring current image is one of a good-time no-holds-barred rock'n'roll machine. The subtleties that many of us have loved along the way about much of their studio work is not a priority to recreate or even represent much on stage. As we all know, Mick doesn't want to slow down, ever, he's always pushing tempos, keeping things moving, never allowing people, perhaps, to pause and really regard the band and where it is at this stage of their career. He wants a blazing, blinding, adrenaline-fueled two-hour sprint ... and it's hard to argue with the success of that model.

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stonehearted

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LongBeachArena72

BEGGARS: 8 songs, avg of 1.5MM streams per song
LET IT BLEED: 7 songs, avg of 3MM streams per song
STICKY: 8 songs, avg of 5.3MM streams per song
EXILE: 16 songs, avg of 3MM streams per song
GHS & IORR: 8 songs each, avg of .5MM streams per song

From this point of view, the most popular "album" (at least in view of today's fans) the band ever cut was clearly Sticky Fingers. That record did not have a "Sympathy" or a "Gimme Shelter,"

...but it did have a U.S. stadium tour where they were playing many cuts and even the album all the way through at one point, behind a deluxe album reissue.

My guess is that instead of 2010, had the deluxe reissue of Exile and the companion video Stones in Exile followed in 2016, the number of listens for Exile songs would have been higher.

But, of course, to the average Spotify listener, 2010 is ancient history, because, you know, they have the attention span of a fly and their musical memory for anything past 3 years tends to be... spotty at best.

Absolutely true, SH; I'd totally overlooked that! The addtl 'exposure' from the tour and the deluxe release could definitely be responsible for some of the delta between the two records.

There are two potential caveats to this conclusion, though:

1) the band, as chronicled on this site and others, did not do much "featuring" of Sticky Fingers on that tour. There was a lot of grousing amongst fans about how, the Fonda show aside, little the tunes on that record became a part of the setlist. I wonder if you compared the Taylor tour of the US with that SF tour, how many more songs from the record were actually played on any kind of regular basis?

2) the band were probably seen by about 700,000 people on the Zip Code tour. By Spotify standards that's a fairly small number. How many of them would have been likely to go to a show, been impressed enough by the representation of Sticky Fingers numbers to have logged on to Spotify, searched for the album and then streamed at least some of the songs? I have no idea, of course, but I bet that number is not especially large.

Rolling Stones Top 40 Songs on Spotify (Up to June 25, 2017)

1. Paint It Black (154.169,123)
97.399,137 (Mono)
43.421,909 (Stereo)
4.038,617 (Mono short)
384,195 (Havana)
2.942,284 (Flashpoint)
5.324,230 (Shine a Light)
658,751 (Live Licks)

2. Gimme Shelter (111.214,322)
109.146,537
371,190 (Havana)
455,346 (Totally Stripped)
1.220.850 (Live Licks)
12,355 (Ladies)
8,044 (Amsterdam)

3. Sympathy For The Devil (108.107,537)
102.370,152
1.199,691 (Neptunes)
345,395 (Fatboy)
154,048 (Full Patt)
310,865 (Havana)
713,348 (Flashpoint)
1.232,132 (Shine a Light)
217,588 (Love You Live)
350,419 (Circus)
262,632 (Mono)
951,267 (Ya-Ya's)

4. (I Can't Get No) Satisfaction (106.517,411)
102.422,844
239,587 (Havana)
1.040,061 (Flashpoint)
789,259 (Live Licks)
1.042,753 (Shine a Light)
143,368 (Got Live)
190,128 (Still Life)
473,067 (Ya-Ya's)
176,344 (Sticky Deluxe)

5. Start Me Up (87.957,965)
84.922,706
709,792 (Flashpoint)
291,777 (Havanna)
1.271,553 (Shine a Light)
601,642 (Live Licks)
157,446 (Still Life)
3,049 (Brixton)

6. Beast Of Burden (66.923,386)
57.756,934
8.407,791 (Edit)
745,516 (Live Licks)
11,794 (Totally Stripped)
1,351 (Texas)

7. Angie (53.335,723)
51.288,621
417,672 (Havana)
794,875 (Stripped)
822,596 (Live Licks)
11,959 (Amsterdam)

8. Brown Sugar (50.711,556)
45.767,088
1.993,909 (Clapton)
257,042 (Havana)
446,418 (Totally Stripped)
437,186 (Flashpoint)
14,551 (Ladies)
862,894 (Shine a Light)
609,986 (Live Licks)
146,284 (SF Deluxe)
173,919 (Love You Live)
2,279 (Brixton)

9. Wild Horses (47.460,007)
31.982,216
12.654,170 (Acoustic)
2.811,341 (Stipped)
12,280 (Amsterdam)

10. You Can't Always Get What You Want (41.507,645)
32.084,710
6.961,717 (Edit)
751,454 (Flashpoint)
784,889 (Live Licks)
285,113 (Circus)
358,634 (Love You Live)
272,488 (Havana)
8,640 (Ladies)

11. Honky Tonk Women (30.908,375)
26.974,370
378,705 (Havana)
679,621 (Totally Stripped)
827,951 (Live Licks)
328,750 (Love You Live)
6,030 (Brixton)
539,981 (SF Deluxe)
214,264 (Mono)
235,448 (SF Deluxe 2)
721,034 (Ya-Ya's)
1,119 (Texas)
1,102 (Paris)

12. Under My Thumb (28.860,559)
25.887,046
498,036 (Still Life)
144,701 (Mono)
2.174,861 (Ya-Ya's)
155,915 (Got Live)

13. Jumpin' Jack Flash (27.645,845)
21.234,362
531,798 (Havana)
3.178,363 (Shine a Light)
518,788 (Flashpoint)
383,232 (Totally Stripped)
310,681 (Circus)
6,329 (Ladies)
275,593 (SF Deluxe)
223,235 (Love You Live)
980,903 (Ya-Ya's)
2,561 (Brixton)

14. Can't You Hear Me Knocking (16.464,622)
14.530,007
549,156 (Live Licks)
1.385,459 (Alternate)

15. Miss You (16.334,185)
14.775,387
730,231 (Flashpoint)
278,093 (Havana)
545,264 (Totally Stripped)
4,073 (Brixton)
1,137 (Texas)

16. Tumbling Dice (15.528,284)
14.051,350
372,774 (Havana)
900,956 (Shine a Light)
9,033 (Ladies)
4,010 (Brixton)
190,161 (Love You Live)

17. Ruby Tuesday (15.481,719)
14.333,112
537,430 (Flashpoint)
569,196 (Flashpoint 2)
41,981 (Mono)

18. She's a Rainbow (12.458,585)
10.613,228
1.845,357 (mono)

19. Street Fighting Man (11.723,305)
9.789,217
305,746 (Totally Stripped)
555,235 (Stripped)
434,061 (Live Licks)
5,462 (Ladies)
5,072 (Amsterdam)
474,446 (Ya-Ya's)
154,066 (SF Deluxe)

20. Time Is On My Side (10.754,405)
8.148,887
997,294 (Still Life)
1.536,981 (Live 1965)
71,243 (Got Live)

21. Let's Spend The Night Together (9.832,466)
9.285,634
261,984 (Still Life)
284,848 (Mono)

22. Dead Flowers (9.221,118)
6.687,181
638,979 (Totally Stripped)
716,000 (Stripped)
10,258 (Ladies)
986,749 (SF Deluxe)
7,992 (Amsterdam)
3,394 (Brixton)
170,635 (SF Deluxe 2)

23. Get Off Of My Cloud (8.961,910)
8.637,293
143,368 (Got Live)
181,249 (Love You Live)

24. Play With Fire (8.392,010)

25. It's Only Rock'n Roll (7.947,521)
6.782,795
436,004 (Havana)
530,792 (Live Licks)
197,930 (Love You Live)

26. As Tears Go By (7.753,900)
6.388,176
1.348,573 (Shine a Light)
17,151 (Italian Version)

27. Waiting On A Friend (7.326,061)

28. Everybody Needs Somebody To Love (7.239,951)
2.948,578
2.036,912 (Live 1965 - Intro)
385,167 (Live Licks)
1.179,095 (Live 1965)
628,445 (Short Version)
61,754 (Mono)

29. Bitch (7.184,480)
5.975,792
11,950 (Ladies)
1.051,281 (Alternate)
145,457 (SF Deluxe)

30. Rocks Off (6.961,884)
6.535,856
426,028

31. Shine a Light (6.821,464)
4.665,210
516,090 (Totally Stripped)
1.037,645 (Shine a Light)
591,902 (Stripped)
7,758 (Amsterdam)
2,859 (London)

32. Midnight Rambler (6.488,069)
3.430,007
276,785 (Havana)
405,494 (Totally Stripped)
6,857 (Ladies)
1.561,169 (Ya-Ya's)
653,716 (SF Deluxe)
2,917 (Brixton)
152,124 (SF Deluxe 2)

33. Sweet Virginia (6.460,868)
5.914,245
527,499 (Stripped)
8,295 (Amsterdam)
7,636 (Ladies)
3,193 (Brixton)

34. The Last Time (6.163,078)
4.940,784
1.158,817 (Live 1965)
63,477 (Got Live)

35. Anybody Seen My Baby (5.947,542)
5.553,483
394,059 (Remix)

36. Happy (5.908,526)
5.363,113
10.891 (Ladies)
374,705 (Live Licks)
159,817 (Love You Live)

37. Loving Cup (5.698,707)
3.881,329
1.255,457 (Shine a Light)
561,921 (Alternate)

38. Mother's Little Helper (5.619,887)

39. Just Your Fool (5.579,590)

40. Not Fade Away (5.495,489)
4.319,174
609,199 (Totally Stripped)
480,735 (Stripped)
15,045 (Amsterdam)
71,336 (Got Live)


Bubbling Under:

41. Monkey Man (5.423,871)

42. Emotional Rescue (5.149,323)

43. Shattered (4.888,153)
3.565,089
1.175,214 (Shine a Light)
147,850 (Still Life)

44. Fool To Cry (4.739,431)

45. 19th Nervous Breakdonw (4.689,079)
4.598,094
67,770 (Got Live)
23,215 (Mono)

46. Let It Bleed (4.617,167)

47. It's All Over Now (4.409,825)
4.397,175
12,650 (Amsterdam)

48. Doo Doo Doo Doo Doo (Heartbreaker) (4.039,652)


Edited.



Edited 1 time(s). Last edit at 2017-06-28 03:38 by georgelicks.

pardon my ignorance but who the hell is drake.

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buttons67
pardon my ignorance but who the hell is drake.

Maybe ignorance is bliss on this occasion

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Doxa
I can very easily imagine that a casual listener picks up - and probably not knowing any song very well beforehand (except probably "Tumbling Dice") - the first one, listens a bit of that, concludes 'a-ha', and then goes back to Drake...
- Doxa

And yet, in a nice bit of irony, it's BV who is the a-ha fan.

Good find. I'm using this site for a History of Rock class.

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buttons67
pardon my ignorance but who the hell is drake.

hate the drake

I understand spotify measures the number of times a song is streamed, the more the 'bigger' the song.

what isn't measured by anyone is how many times I've listened to my beatles, stones and led zeppelin albums. In the day, I'm sure they were 'listened to' much more than Elvis, Chuck Berry and Frank Sinatra, certainly outsold them by the time we get to the late 60s.

Just because our favourite bands aren't streamed to the same level as "the drake" is doesn't mean we're facing the decline of western civilization...invariably new releases will always outperform catalogue music in streaming (just like in the old days with sales).

I also think that if there happens to be a skewing right now towards a handful of artists, that will change very quickly when the next big thing comes around. Think about how much the Beatles, one band dominated sales in the 60s...music survived.

The big difference now is you'll be able to see swings in musical taste virtually in 'real time'. It's a brave new world.

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treaclefingers
I understand spotify measures the number of times a song is streamed, the more the 'bigger' the song.

what isn't measured by anyone is how many times I've listened to my beatles, stones and led zeppelin albums. In the day, I'm sure they were 'listened to' much more than Elvis, Chuck Berry and Frank Sinatra, certainly outsold them by the time we get to the late 60s.

Just because our favourite bands aren't streamed to the same level as "the drake" is doesn't mean we're facing the decline of western civilization...invariably new releases will always outperform catalogue music in streaming (just like in the old days with sales).

I also think that if there happens to be a skewing right now towards a handful of artists, that will change very quickly when the next big thing comes around. Think about how much the Beatles, one band dominated sales in the 60s...music survived.

The big difference now is you'll be able to see swings in musical taste virtually in 'real time'. It's a brave new world.

1) Yes, in the pre-streaming days, sales of physical product & radio play were the only way to determine a record's popularity. How many times a record owner spun his or her discs was never an imaginable metric back in the day.

2) Were Beatles, Stones, and Zeppelin records "listened to" more than the most popular artists earlier in the 20th century? I'm not sure how we would know this. We could tally up every possible sale, of every 45, 78, long player, every 'listen' on every radio station ... but that wouldn't tell us if the Beatles and Stones beat Elvis and Sinatra in terms of "listens." I don't have any idea how to prove whether Elvis buyers were less obsessed about spinning their 45's than Beatles fans were or whether Sinatra fans were less likely to listen over and over again to their man's songs than were Stones fans.

3) There's nothing inherently judgmental about the worth of what we refer to as "classic rock" when we look at Spotify numbers. I think we've all known for a number of years now that music has moved on and there have been several generations of artists that have come (and mostly gone) since our childhood heroes first trod the boards. "Classic rock" will stand the test of time ... or it won't. And none of us will be around to see that. We all think that our own generations have produced the best of everything ... and maybe that's true in the case of those of us who came of age in the 60's and 70's. But I know that I am frequently guilty of cultural myopia when it comes to the importance of things that have happened in my lifetime. I have to constantly remind myself of things like: no, this isn't the most important election in the nation's history, or no, this isn't the worst example of man's inhumanity to man ever in history, etc., etc., etc.

It amazes me, after having read the top 40 list that georgelicks posted here (good work), that an album by the stones get so few plays like the "Totally Stripped Amsterdam" has. I know it hasn`t been on Spotify for a long time, but still just over 8000 Plays for Gimme Shelter tells me that not very many People listen to this album on Spotify. That may be just me and a few other listeners then I guess...

It's also interesting that tracks like Anybody Seen My Baby are more popular on Spotify than Happy, ER, Shattered, 19th Nervous Breakdown and It's All Over Now.

And Just Your Fool has passed Not Fade Away in streams. Who would have believed that!

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DandelionPowderman
It's also interesting that tracks like Anybody Seen My Baby are more popular on Spotify than Happy, ER, Shattered, 19th Nervous Breakdown and It's All Over Now.

And Just Your Fool has passed Not Fade Away in streams. Who would have believed that!

If I should try to analyze it (without actaually having any idea...) I would say that Spotify is often used by younger people. People who listen to Stones are mainly older and grown ups (let`s face it....) and therefore uses LP`s and cd`s more than digital media. Anybody seen my Baby I guess somehow appeal to younger people more than the songs you mentioned. Just Your fool is from a record that got a big hype and therefore propably was played by a big audience because of that.

Paint it black and Gimme Shelter is known by younger people from Movies and tv-shows and I guess that is a big part of why those two songs are on top of the list.


This is of course just a guess from me.

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buttons67
pardon my ignorance but who the hell is drake.

this one has more than a billion views. should allow u to decide whether u hate the drake.

[www.youtube.com]

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DandelionPowderman
It's also interesting that tracks like Anybody Seen My Baby are more popular on Spotify than Happy, ER, Shattered, 19th Nervous Breakdown and It's All Over Now.

And Just Your Fool has passed Not Fade Away in streams. Who would have believed that!

It could be that younger people simply know who Mick Jagger is -- showing up to guest at that Taylor Swift show, and other similar things that he's done ever since that 2011 Grammy appearance, has really paid off.

He's got the moves and still the look, and he puts himself out there.

If he put out a solo album and promoted it by guesting at concerts by younger, more popular performers, I'm sure the streaming figures for said new solo album would be right up there -- and would even surpass number of views for several classic Stones mainstays.

Spotify with Audacity Lol. Just sayin'