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GasLightStreet

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NashvilleBlues

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Big Al

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Ricky


Street Fighting Man was a UK single two times
[www.discogs.com]
Decca F 13195 Street Fighting Man//Surprise Surprise/Everybody Needs Somebody To Love (7", 6/71, No. 21)
Decca F 13203 Street Fighting Man/Surprise Surprise (7", 7/71)

Yes, but the Stones, themselves, didn't intend for it to be a single in the U.K., or anywhere, probably. In the case of the two U.K. single releases, it’s evidentially just DECCA, wanting to mop-up after the group left the label. I'm sure the inclusion of Surprise, Surprise as the flip-side, may have proved an incentive for some U.K. buyers, having only been previously released on an obscure DECCA compilation L.P.

So SFM was a single. You said it wasn’t.

Street Fighting Man wasn't a single in the orbit of BEGGARS BANQUET onward into 1969. In other words, it had nothing to do with the album at the time.

I get that. They said it wasn’t a single but it was. Simple as that.

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Doxa

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Spud
Crucify me if you want ...but it always amazes me how well Exile has sold down the years .

Why ?

Because to the average "AOR" listener it sounds like their kids' band practising in the garage.

Exile is at the same time sublime...and a right bloody racket !

I think EXILE having the best 'brand' of their catalogue albums, and they have managed to make sure that any respected rock fan should, next to HOT ROCKS or something like that, own it. If the reviews were rather mild initially, the band should thank the press ever since. For example, it always makes the top spots in the lists of best albums ever by ROLLING STONE magazine (once recall it being #2 only next to SGT. PEPPER). Its deluxe-edition was a huge million success as well salewise (for example, re-entering #1 in UK list), and seemingly UMG and the band made a great job in promoting it.

However, I share your feelings... EXILE is not an 'easy-listening' album. So I wonder how many of its buyers actually have nerves to listen the album so much in order to 'get it'.... Honestly, of the people I know who love rock but aren't any big Stones fans particularly, EXILE seem to confuse them... by contrast, the greatness of STICKY FINGERS and LET IT BLEED seems to be recognized rather easily... Those albums seem to speak more in terms of 'traditional rock'.

- Doxa

Disagree...Exile is certainly an 'easy listening' album. It's just not immediately accessible. However of their entire catalogue I find Exile the 'easiest' listening...the way it shifts effortlessly between styles yet still has the 'sameness' of overall production quality and sound makes it perfect.

I think also of Tattoo You which is obviously completely different, and much higher production quality but in the same way navigates the variety of styles effortlessly with a 'sameness' of sound. For me probably the second best 'easy to listen' album.

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treaclefingers

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Doxa

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Spud
Crucify me if you want ...but it always amazes me how well Exile has sold down the years .

Why ?

Because to the average "AOR" listener it sounds like their kids' band practising in the garage.

Exile is at the same time sublime...and a right bloody racket !

I think EXILE having the best 'brand' of their catalogue albums, and they have managed to make sure that any respected rock fan should, next to HOT ROCKS or something like that, own it. If the reviews were rather mild initially, the band should thank the press ever since. For example, it always makes the top spots in the lists of best albums ever by ROLLING STONE magazine (once recall it being #2 only next to SGT. PEPPER). Its deluxe-edition was a huge million success as well salewise (for example, re-entering #1 in UK list), and seemingly UMG and the band made a great job in promoting it.

However, I share your feelings... EXILE is not an 'easy-listening' album. So I wonder how many of its buyers actually have nerves to listen the album so much in order to 'get it'.... Honestly, of the people I know who love rock but aren't any big Stones fans particularly, EXILE seem to confuse them... by contrast, the greatness of STICKY FINGERS and LET IT BLEED seems to be recognized rather easily... Those albums seem to speak more in terms of 'traditional rock'.

- Doxa

Disagree...Exile is certainly an 'easy listening' album. It's just not immediately accessible. However of their entire catalogue I find Exile the 'easiest' listening...the way it shifts effortlessly between styles yet still has the 'sameness' of overall production quality and sound makes it perfect.

I think also of Tattoo You which is obviously completely different, and much higher production quality but in the same way navigates the variety of styles effortlessly with a 'sameness' of sound. For me probably the second best 'easy to listen' album.

That’s a fair point, regarding Exile not being ‘immediately accessible’ Whilst it certainly deserving of it’s placing as one of the Stones’ ‘Big Four’, it isn’t the album I’d recommend to someone wanting to explore their releases, beyond the likes of Hot Rocks and Forty Licks. I’d steer them in the direction of Sticky Fingers, personally. I struggled with Exile upon first listen, myself, yet like you, I do now find it to be an incredibly easy listen. Such variety in styles. Exile on Main Street should definitely be appreciated as a whole.

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NashvilleBlues

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GasLightStreet

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NashvilleBlues

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Big Al

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Ricky


Street Fighting Man was a UK single two times
[www.discogs.com]
Decca F 13195 Street Fighting Man//Surprise Surprise/Everybody Needs Somebody To Love (7", 6/71, No. 21)
Decca F 13203 Street Fighting Man/Surprise Surprise (7", 7/71)

Yes, but the Stones, themselves, didn't intend for it to be a single in the U.K., or anywhere, probably. In the case of the two U.K. single releases, it’s evidentially just DECCA, wanting to mop-up after the group left the label. I'm sure the inclusion of Surprise, Surprise as the flip-side, may have proved an incentive for some U.K. buyers, having only been previously released on an obscure DECCA compilation L.P.

So SFM was a single. You said it wasn’t.

Street Fighting Man wasn't a single in the orbit of BEGGARS BANQUET onward into 1969. In other words, it had nothing to do with the album at the time.

I get that. They said it wasn’t a single but it was. Simple as that.

Oops. Was I ever incredibly wrong:

US release date: 8-31-1968 in the United States. Different from the LP version. Duh, it's on THE SINGLES COLLECTION.

No problem! It happens!

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GasLightStreet

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NashvilleBlues

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GasLightStreet

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NashvilleBlues

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Big Al

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Ricky


Street Fighting Man was a UK single two times
[www.discogs.com]
Decca F 13195 Street Fighting Man//Surprise Surprise/Everybody Needs Somebody To Love (7", 6/71, No. 21)
Decca F 13203 Street Fighting Man/Surprise Surprise (7", 7/71)

Yes, but the Stones, themselves, didn't intend for it to be a single in the U.K., or anywhere, probably. In the case of the two U.K. single releases, it’s evidentially just DECCA, wanting to mop-up after the group left the label. I'm sure the inclusion of Surprise, Surprise as the flip-side, may have proved an incentive for some U.K. buyers, having only been previously released on an obscure DECCA compilation L.P.

So SFM was a single. You said it wasn’t.

Street Fighting Man wasn't a single in the orbit of BEGGARS BANQUET onward into 1969. In other words, it had nothing to do with the album at the time.

I get that. They said it wasn’t a single but it was. Simple as that.

Oops. Was I ever incredibly wrong:

US release date: 8-31-1968 in the United States. Different from the LP version. Duh, it's on THE SINGLES COLLECTION.

But not in the original 1989 Singles Collection. Through carelessness, they used the Beggars Banquet version. The error was fixed for the 2002 rerelease. I’ve always felt that single-mix sounds a little odd.

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Big Al

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GasLightStreet

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NashvilleBlues

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GasLightStreet

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NashvilleBlues

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Big Al

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Ricky


Street Fighting Man was a UK single two times
[www.discogs.com]
Decca F 13195 Street Fighting Man//Surprise Surprise/Everybody Needs Somebody To Love (7", 6/71, No. 21)
Decca F 13203 Street Fighting Man/Surprise Surprise (7", 7/71)

Yes, but the Stones, themselves, didn't intend for it to be a single in the U.K., or anywhere, probably. In the case of the two U.K. single releases, it’s evidentially just DECCA, wanting to mop-up after the group left the label. I'm sure the inclusion of Surprise, Surprise as the flip-side, may have proved an incentive for some U.K. buyers, having only been previously released on an obscure DECCA compilation L.P.

So SFM was a single. You said it wasn’t.

Street Fighting Man wasn't a single in the orbit of BEGGARS BANQUET onward into 1969. In other words, it had nothing to do with the album at the time.

I get that. They said it wasn’t a single but it was. Simple as that.

Oops. Was I ever incredibly wrong:

US release date: 8-31-1968 in the United States. Different from the LP version. Duh, it's on THE SINGLES COLLECTION.

But not in the original 1989 Singles Collection. Through carelessness, they used the Beggars Banquet version. The error was fixed for the 2002 rerelease. I’ve always felt that single-mix sounds a little odd.

Yeah! On all the hits albums it's the LP version! They're weird - on some hits comps the UK edit of Miss You is used. JUMP BACK has it as well as FORTY LICKS and the 2012 one. On REWIND and HONK it's the LP version.

The UK edition of REWIND oddly has the LP version and not the UK edit.

Another week on the Top 100 of the Billboard 200 for Hot Rocks at #97 with 8,000 units (sales+streams), just 2 weeks away from the 400th week mark.

[www.billboard.com]

Hot Rocks has now reached the 400 week milestone on the Billboard 200 (No. 195 this week).

[www.billboard.com]

Hi Georgelicks, so how many copies has Hot Rocks sold in the US? I believe the last certification was 12 million (6 million x 2 records)?

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DGA35
Hi Georgelicks, so how many copies has Hot Rocks sold in the US? I believe the last certification was 12 million (6 million x 2 records)?

It's very hard to guess, the latest certification was over 20 years ago and the album is selling an average of 300-350k a year during the past 10 years, the streaming era...so we have 3+ million copies only since 2012 x 2 records: 18 million...and we're missing the sales from 2002-2011, another million at least: 20 million certification, and that's a rough guess.

I wish Stones record company would update their sales figures for RIAA certification purposes. They would leapfrog a number of bands that are ahead of them.

Then they would have to pay back royalties to the artist...

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georgelicks
Hot Rocks has now reached the 400 week milestone on the Billboard 200 (No. 195 this week).

[www.billboard.com]

I bought mine shortly after it came out, and it was one of my Big Four Stones albums I bought, ages 14 - 17.

The first was Through The Past Darkly in 1969, to get on an album the song that had blown my 14 yr old mind that summer, Honky Tonk Women. (I've since lost my summer '69 well-worn single. But not TTPD!)

Next was Sticky Fingers. Has any rock album of all-new material ever been better? My other all-time favorite Stones song, along with HT Women, is Brown Sugar.

No. 3 was Hot Rocks. Wow, what a treasure.

No. 4 was Exile. Okay, if any rock album of new material has ever been better than SF, it's Exile.

And then the concert! They actually came to my city!

1972! What a year.

And yet, come 1973 I was deeply disappointed by the two singles off Goats Head Soup that got radio play... and didn't buy another Stones album until Some Girls came out. (In '73 I did see Faces live, though. Damn, were they ever good, too!) Albums were expensive. And I wasn't smart or at the time informed enough to back up and look into Let It Bleed or Beggars Banquet. Sure wish I had.

****
I'm down in Virginia
with your Cousin Lou

Beggars Banquet is back on the Billboard 200 by first time since 1980 when it re-entered around the Emotional Rescue period.

It ranks at #118 on this week's chart (#12 on sales alone) with 9,000 units.
[www.billboard.com]

It marks the 4th Stones album to chart on the Billboard 200 this year:

- In Mono (#151, 1 week)
- GRRR Live (#193, 1 week)
- Hot Rocks (#178, 9 weeks)
- Beggars Banquet (#118, 1 week)

BEGGARS BANQUET US chart run so far:

US Date: 14/12/1968 - Run: 159-33-27-12- *5*-5-5-10-11-14-18-31-36-37-53-55-67-73-71-81-85-117-134-156-171-170 (26/4 wks)
Re #01: 27/09/1980 190-180-170-169-187-181 (6 wks, 32 wks)
Re #02: 06/05/2023 118 (1 wk)
Total # of weeks: 33-26c (Top 10: 4, Top 20: 8 Top 40: 13)

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georgelicks
Beggars Banquet is back on the Billboard 200 by first time since 1980 when it re-entered around the Emotional Rescue period.

It ranks at #118 on this week's chart (#12 on sales alone) with 9,000 units.
[www.billboard.com]

It marks the 4th Stones album to chart on the Billboard 200 this year:

- In Mono (#151, 1 week)
- GRRR Live (#193, 1 week)
- Hot Rocks (#178, 9 weeks)
- Beggars Banquet (#118, 1 week)

BEGGARS BANQUET US chart run so far:

US Date: 14/12/1968 - Run: 159-33-27-12- *5*-5-5-10-11-14-18-31-36-37-53-55-67-73-71-81-85-117-134-156-171-170 (26/4 wks)
Re #01: 27/09/1980 190-180-170-169-187-181 (6 wks, 32 wks)
Re #02: 06/05/2023 118 (1 wk)
Total # of weeks: 33-26c (Top 10: 4, Top 20: 8 Top 40: 13)

Interesting...9000 units were what I understood to be 'available' for the RSD release, which means it's sold out? I know of one record store that still has a copy. Maybe I'll go nab it?!

....WHY...the return of Beggars banquet....?

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jp.M
....WHY...the return of Beggars banquet....?

The Record Store Day-release.

With a new single around the corner I was thinking it might be fun to look upon the Spotify streams from songs released 1989- onwards. Let's start with the 10 most streamed (all time) to have something to compare to (in millions):

1. PIB 970 (soon 1b!)
2. Satisfaction 622
3. Start me up 540
4. Gimme Shelter 526
5. SFTD 513
6. Beast of Burden 377
7. Angie 314
8. Wild Horses 241
9. Miss you 178
10. Honky Tonk Women 163

And here is: 1989-:
Living in a ghost town 60,3 (including remix)
Anybody seen my baby 52,9
Doom and Gloom 22,2 (including remix)
Hate to see you go 17,2
Love is strong 15,6
Out of control 15,5
Ride 'Em on down 15
Just your fool 14,1
Streets of love 10,9
Like a rolling stones 8,9
Slipping Away 8,2
You got me rocking 8,1
Mixed Emotions 7,5
Saint of me 6,9
Blue and lonesome 6,5
Laugh, I nearly died 6
I gotta go 6
Almost hear you sigh 5,9
Commit a crime 5,9
Rain fall down 5,5
I can't quit you baby 5,4
All of your love 5,2
Out of tears 4,7
Everybody knows abut my good thing 4,5
Don't Stop 4 (just released, so will climb. "Rock edit" not included)
Hoo Doo Blues 4
Little rain 4
Criss cross 3,8
Rough Justice 3,7
Just like a treat you 3,7
Rock and a hard place 3,6
Blinded by rainbows 2,9
Thru and thru 2,9
Plundered my soul 2,6
Troubles a' comin' 2,3
Living in the heart of love 2,2
Flip the switch 2,1

It’s strange with the Stones. They are the biggest lives ever but their album sales are not what you would expect. I think it’s the singles thing.

The same goes for the number of listeners per month on Spotify, with many bands and artists doing far better than the Stones...

***
I'm just a Bad Boy Boogie

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powerage78
The same goes for the number of listeners per month on Spotify, with many bands and artists doing far better than the Stones...

Agree. I want it to be larger of course. But a revival of some kind is needed. The new album, if its a hit, should drag listeners and streams. Two late phenomenons (Queen and ABBA) have Done it because of movies & musicals.

Angry is #9 on trending music on YT (videos). Tomorrow it will hit the daily chart. If it continue in this phase its first day is expected between 1-1,5m streams, same as Living in a Ghost town (opened at 1,48m streams). 1-1,5m = top 50 on YT. Their most streamed video is Anybody Seen My Baby at 75m. Living in a Ghost town is #23 most streamed with 13m.

An interesting article on the latest Music Week:

Jewel in the crown: How the Rolling Stones' catalogue is set to be supercharged by their new album

by Andre Paine

The Rolling Stones have confirmed details of their first album of original material in 18 years.

Launched at Hackney Empire via YouTube with a Q&A conducted by Jimmy Fallon, Hackney Diamonds is set for release on October 20. The single Angry is the first track from the LP.

As well as a guest appearance from Lady Gaga, Hackney Diamonds also features former band member Bill Wyman and the late Charlie Watts on a track recorded in 2019.

The new Stones album is likely to be one of the biggest releases of Q4. However, the ultimate prize for the Rolling Stones and Universal Music is set to be a significant long-term catalogue boost for the band.

Even before the announcement of Hackney Diamonds, there have been key developments on the streaming front for the Stones. At the beginning of 2023, the band launched an official TikTok account, enabling creators around the world to access their full music catalogue for the first time.

In terms of releases, the major step was to bring a comprehensive catalogue title to streaming audiences. Forty Licks was released for the first time on both vinyl and DSPs in July including Dolby Atmos versions. It was originally released in 2002 to mark the Stones’ 40th anniversary and featured 36 classics, including Gimme Shelter, (I Can’t Get No) Satisfaction, Paint It Black and Jumpin’ Jack Flash, alongside four new songs.

As revealed in Music Week’s charts analysis by Alan Jones last month, Forty Licks was released digitally in 2006 before being deleted in 2008. With previous sales of 1,135,650, it returned to the chart in August for the first time since 2006, re-entering at No.39 on consumption of 2,771 units (Official Charts Company) – 794 vinyl four-packs, 1 CD, 48 digital downloads and 1,927 sales-equivalent streams.

Since then, the compilation has maintained its position in the Top 75. Even ahead of the full announcement on Hackney Diamonds, Forty Licks’ consumption was up a modest 3.4% week-on-week in the latest Midweek sales flash up to the end of Tuesday (September 5). But with a full Stones campaign in swing from Polydor and catalogue division Universal Music Recordings, expect Forty Licks to establish itself as another of the true perennials in the streaming era.

Of course, there will be a huge Q4 focus on new album Hackney Diamonds, particularly on physical formats. When the band released covers set Blue & Lonesome in 2016, it finished the year at No.17 overall, despite only appearing at the tail end of Q4 in December. In a very different kind of market seven years ago, Blue & Lonesome opened at No.1 with sales of 105,830 (95,484 physical, 9,150 downloads and 1,196 from streams). It has gone on to sell 358,564 copies in the UK.

Under OCC chart rules, labels can nominate a compilation album to register all the streams of the featured tracks when fans listen on their platform of choice. In the recent past, the Stones’ various collections – including Forty Licks, Hot Rocks and Singles Collection: The London Years – have shared the streams. But now the label’s focus is very much on Forty Licks as the designated compilation.

That’s important to establish the album in the upper reaches of the chart, in order to help further build its streaming presence. While the Stones have 25.3 million monthly Spotify listeners, before Forty Licks returned to DSPs the band had not been among those UK Top 40 streaming perennials by the likes of Fleetwood Mac, Elton John, ABBA, Queen, Bob Marley & The Wailers, The Beatles and David Bowie.

At the midway point of 2023, the Rolling Stones did not have an album in the overall Top 200 for the first six months. For the full year 2022, they made the Top 200 with Hot Rocks – 1964-71 at No.187 (48,249 sales).

As you’d expect, their catalogue is strong in terms of consumption of individual titles. The Stones scored another No.1 with the reissue of Goats Head Soup in 2020. As well as compilations including Hot Rocks and Honk, their biggest sellers in 2022 included studio album Sticky Fingers, which moved 25,606 copies last year. Classic LP Exile On Main Street sold 7,058 copies.

But there’s now a renewed focus on a hits collection to complement the release of a brand new album. The goal now will be to take Forty Licks much nearer the top so it's competing with the likes of Elton John’s Diamonds (No.7 overall last year with 208,779 sales), Fleetwood Mac’s 50 Years – Don’t Stop (No.8, 208,053 sales), ABBA’s Gold: Greatest Hits (No.10, 197,844 sales) and Queen’s Greatest Hits (No.11, 193,111). Elton John, Queen and ABBA are also with the team at Universal Music Recordings, while Warner Music catalogue division Rhino has powered Fleetwood Mac’s streaming campaign.

Elton John and his management team spoke to Music Week last year about the long-term plan they put in place to conquer the streaming world, which began in 2017 with the Diamonds compilation. While the Stones have collaborated with Lady Gaga, Elton John teamed with Dua Lipa in a similar move to reach a younger audience.

An obvious comparison for the Stones is the success of the new ABBA Voyage album and avatar concert, which helped to boost the consumption of ABBA Gold. The Stones continue to tour in real life, of course, including playing BST Hyde Park in 2022.

During the YouTube event at Hackney Empire, Keith Richards revealed that one earlier title for the new record was Smash And Grab. More than 60 years after they formed, the Stones are preparing to make an assault on the charts with both new songs and classic hits.

[www.musicweek.com]

Very interesting Georgelicks. And I agree on the assumptions/conclusions.

Yeah, very interesting article, thanks.

It also explains why they did re-release FORTY LICKS - to reach better the streaming audience. It also covers better their whole career than the old steady seller HOT ROCKS that misses such popular tunes as "Start Me Up", "Beast of Burden", "Angie" and "Miss You, all be longing to their top ten in streaming charts. One might imagine ABKCO is not too happy about it, but I guess Universal, taking care of both ABKCO and Promotone eras, had a hand there.

- Doxa

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Doxa
Yeah, very interesting article, thanks.

It also explains why they did re-release FORTY LICKS - to reach better the streaming audience. It also covers better their whole career than the old steady seller HOT ROCKS that misses such popular tunes as "Start Me Up", "Beast of Burden", "Angie" and "Miss You, all be longing to their top ten in streaming charts. One might imagine ABKCO is not too happy about it, but I guess Universal, taking care of both ABKCO and Promotone eras, had a hand there.

- Doxa

It does explain it, though why 40 Licks, and not Grrr?

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Big Al

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Doxa
Yeah, very interesting article, thanks.

It also explains why they did re-release FORTY LICKS - to reach better the streaming audience. It also covers better their whole career than the old steady seller HOT ROCKS that misses such popular tunes as "Start Me Up", "Beast of Burden", "Angie" and "Miss You, all be longing to their top ten in streaming charts. One might imagine ABKCO is not too happy about it, but I guess Universal, taking care of both ABKCO and Promotone eras, had a hand there.

- Doxa

It does explain it, though why 40 Licks, and not Grrr?

Yeah, I've been thinking that as well. Taken that it especially an Universal era product, and pretty much tells the same story.

Speculations:
- since FL is a bit older, and has not been distributed for some time, it has something like rarity value - for example, to excite a bit more us hardcore fans to get a copy (to maximise also the physical copy sales).
- ABKCO compromised to release that, but not the other? They surely have a say there. (It was a long and difficult process at the time to have it released in the first place)
- FL was a big thing and a huge seller at the time, much bigger than the gorilla album - so maybe they thought it has a better 'brand', you know, having a bit HOT ROCKS -like reputation as an essential, big name Stones collection. Easier to promote.
- they simply think that it is a better compilation of those two to serve its function. More compact, etc.

- Doxa



Edited 2 time(s). Last edit at 2023-09-15 12:46 by Doxa.

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Doxa

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Big Al

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Doxa
Yeah, very interesting article, thanks.

It also explains why they did re-release FORTY LICKS - to reach better the streaming audience. It also covers better their whole career than the old steady seller HOT ROCKS that misses such popular tunes as "Start Me Up", "Beast of Burden", "Angie" and "Miss You, all be longing to their top ten in streaming charts. One might imagine ABKCO is not too happy about it, but I guess Universal, taking care of both ABKCO and Promotone eras, had a hand there.

- Doxa

It does explain it, though why 40 Licks, and not Grrr?

Yeah, I've been thinking that as well. Taken that it especially an Universal era product, and pretty much tells the same story.

Speculations:
- since FL is a bit older, and has not been distributed for some time, it has something like rarity value - for example, to excite a bit more us hardcore fans to get a copy (to maximise also the physical copy sales).
- ABKCO compromised to release that, but not the other? They surely have a say there. (It was a long and difficult process at the time to have it released in the first place)
- FL was a big thing and a huge seller at the time, much bigger than the gorilla album - so maybe they thought it has a better 'brand', you know, having a bit HOT ROCKS -like reputation as an essential, big name Stones collection. Easier to promote.
- they simply think that it is a better compilation of those two to serve its function. More compact, etc.

- Doxa

Really a very interesting topic.

Another possible reason for choosing FL over Grrr might be to look at the songs that are not on both compilations (if we compare the 40 song Grrr version; btw. would the 50 song/three disc version change anything regarding charts performance via streaming?). Missing she's a rainbow and under my thumb, both being in triple-digit millions in streams might be another reason for choosing FL over Grrr (all the other songs in question are somewhere below 50 million streams)

I wrote this post to another thread, but I guess it fits better here, and also gives us some hint why they - and their record company - released FORTY LICKS especially the streaming market in mind.

---

Billboard has these interesting statistics for the year 2021. The Stones were globally the second best earning act in the world after Taylor Swift (number one in US market though).

Sales royalties: $4.3M (US: $2M)
Streaming royalties: $4.5M (US: $3.1M)
Global streaming count: 2.2B
(Box Office Take: $44.4M)

So I think they take or should take the streaming business pretty seriously, especially in US market. Especially if there will be no touring or some new hot release every year (I guess a big percentage of sales royalties derives from GOATS HEAD SOUP reissue, but the streaming royalties from the whole catalogue).

Maybe the big riches are not reached solely by streaming, but I suppose Mick and Keith can cover some of their every day life expanses by the streaming income...

- Doxa



Edited 1 time(s). Last edit at 2023-09-15 15:19 by Doxa.