Hot Rocks is back on The Billboard 200 chart this week at #158, first week on chart since November last year.

[www.billboard.com]

Hot Rocks ranks at #75 in the UK (1,300 copies) and #147 (7,000 copies) in Billboard this week, the album remains a favorite and we can expect a peak on next week's chart after their performance on TV, it was on Itunes Top 40 during last Sunday and Top 100 during the last 7-10 days.

[www.officialcharts.com]
[www.billboard.com]

Not bad for a 48 year old hits compilation.

Like Rolled Gold did, it’s producing new geenerations of fans

Quote
1963luca0
Like Rolled Gold did, it’s producing new geenerations of fans

Ehhhh... it's been blended at this point. The current generation... eh, you know, one could say a new generation starts each year. However, generally a generation is every 30 years.

Perhaps a more realistic way to look at it is to compare it to certain cicadas: every 7 or 12 etc years there is a big number that come out, but there are always cicadas hatching every year.

But right now, there's not really a new generation listening to the Stones. The Millennials have been exposed. The oldest millennials are already in their late 30s, the youngest in the mid 20s. Anyone younger is probably relying on mommy to use a credit card, which ain't happening.

Quote
tiffanyblu


Top 5 streams, Stones (in million)
PIB 344
Satisfaction 242
Gimme Shelter 222
Sympathy 220
Start me up 200

That was the Spotify situation last September. Now it is:

1. Paint It Black 422 (+82)
2. Satisfaction 299 (+57)
3. Gimme Shelter 265 (+43)
4. Sympathy For The Devil 261 (+41)
5. Start Me Up 246 (+46)

The success of "Paint It Black" seems to be incredible, clearly their most popular song nowadays. Even more outstanding it is if looked how it is doing in in YouTube. I quickly checked their most viewed official tracks there, amounts in millions:

1. Paint It Black 272
2. Satisfaction 92
3. Gimme Shelter 56
4. Sympathy For The Devil 49

All of these are so called 'official lyric videos' that ABKCO started to release in 2015. 272 million views for "Paint It Black" in a couple of years for that simple video! Amazing!

Compare that number to some high profile offerings from 2012 on:

Doom&Gloom 23+13 (two official videos) 40
Ride 'em on Down 29
Hate To See You Go 6
Trouble 1,4
Gotta Get A Grip 1,3
England Lost 1,3
Living In A Ghost Town (in six days) 4,2!

However, this one is worth noting:

Start Me Up 33 (+ 32 unofficial!) 65

What about the money? These are rough numbers, but from "Paint It Black" alone ABKCO & The Stones have grossed:
Spotify: $3 376 000
YouTube: $816 000

That is: 4,2 million dollars.

Spotify covers only about 36% of streaming market, so the actual sum from streaming is much higher. Probably at least twice. All that within a couple of years - and there is no end in sight, since the people just keep on streaming...

Just think about it: all that is done to put one already done and released song digitally 'out there'. There is some serious money in the streaming business...

- Doxa



Edited 2 time(s). Last edit at 2020-04-30 02:41 by Doxa.

Thanks to the corona virus and having a few days off work, I have had spare time enough to 'study' the streaming business more closely (as probably some folks nave noticed here...). For an old dog like me it is hard to learn new tricks, but despite of that it is interesting, if nothing else, to try to grasp what is going on in the music industry nowadays. Anyway, as it is always with me, I am not such interest in statistics an sich, but how to interpret them. What kind of conclusions one might draw from them, etc.

In a way streaming business is a rather concrete way to point out the popularity of songs. The fact how much people listen a song is something one can't really argue with - if the actual popularity interests one. It is seemingly a better way to estimate popularity than just watching the sales of albums and singles of the past. That doesn't take anything out of the popularity of the music at its hey-day. But it is interesting what it says about a huge catalogue band like the Stones and how their legacy is viewed after the hey-day of their music. What really is the stuff they are most remembered for and still liked today.

Of course, there are some qualifications to consider if are watching just streaming numbers in evaluating the popularity. What it is not counted for is how much people listen music from their own records and downloads. In the case of the Stones fans the latter is almost like a norm. We hardcore fans most likely not listen much the Stones from Spotify or other streaming services, but just from our own records. This holds on to many others from the 'elder generations' as well, the people who might be their potential audience. So, what the streaming numbers actually 'say' is more like what 'casual fans' are listening, and even among them, it most likely leans on the taste of the younger generations. But they are the future in many senses of the word, right?

Anyway, Spotify is the easiest one to get a raw data. It only covers some sort of 36% of streaming market, but I guess it still gives a rather accurate (relative) number of the popularity of individual streamed songs.

So what I will do next is construct three greatest hits albums by the Stones based on the numbers in Spotify. However, to show what an old dog I am, I will construct them in terms I am most familiar with 'to get it': those of good old vinyl albums containing 12 songs in two halves. The songs are picked by the pure popularity (VOL I gets twelwe most streamed, VOL II the next twelve most streamed and so on), but I will use my own judgment in placing them, to get a kind of 'good flow' or something. So here they are now - I will make some observations later.


THE ROLLING STONES GREATEST HITS VOL I

Side one

1. Paint It Black
2. Satisfaction
3. Gimme Shelter
4. Honky Tonk Women
5. Sympathy For The Devil
6. You Can't Always Get What You Want

Side two

1. Start Me Up
2. Beast of Burden
3. Brown Sugar
4. Angie
5. Miss You
6. Wild Horses

(Damn it - that's a helluva collection - and nicely the catalogue is divided by two realms, each having an own side)


THE ROLLING STONES GREATEST HITS VOL II

Side one

1. Jumpin' Jack Flash
2. Get Off of My Cloud
3. Ruby Tuesday
4. Under My Thumb
5. Let's Spend The Night Together
6. Play With Fire

Side two

1. Street Fighting Man
2. She's A Rainbow
3. Tumbling Dice
4. Dead Flowers
5. Can't You Hear Me Knocking?
6. Waiting On A Friend


THE ROLLING STONES GREATEST HITS VOL 3

Side one

1. Rocks Off
2. Mother's Little Helper
3. As Tears Go By
4. Monkey Man
5. Happy
6. Time Is On My Side

Side two

1. It's Only Rock'n'Roll
2. Sweet Virginia
3. Emotional Rescue
4. Anybody Seen My Baby?
5. Shine A Light
6. Moonlight Mile


I'll be back.

- Doxa



Edited 5 time(s). Last edit at 2020-05-06 16:34 by Doxa.

been playing a lot with Spotify stats lately and I have gotten my hands over all the streaming data regarding Stones and others. with some scripts I have merged when one song is available on more than one album in order to get correct data per song.

Som imagine we would do a greatest hits in the way you suggest Doxa. The "gold" package would be (numbers are streams)

Paint It, Black 441 345 659
(I Can't Get No) Satisfaction 317 702 093
Sympathy For The Devil 279 455 893
Gimme Shelter 278 474 262
Start Me Up 259 076 400
Beast Of Burden 194 027 248
Angie 151 922 616
Wild Horses 138 212 640
Brown Sugar 130 499 639
You Can't Always Get What You Want 102 559 353
Miss You 87 413 984
Honky Tonk Women 86 126 504
Jumpin’ Jack Flash 69 435 167
Under My Thumb 66 681 297
Can't You Hear Me Knocking 49 157 557
Ruby Tuesday 44 881 155
She's A Rainbow 39 825 925
Tumbling Dice 36 858 041
Street Fighting Man 29 908 938
Dead Flowers 25 801 001

"Silver album":
Play With Fire 24075196
Let's Spend The Night Together 23833268
It's Only Rock'n'Roll (But I Like It) 22295173
Get Off Of My Cloud 21888832
Waiting On A Friend 21730394
Time Is On My Side 21180542
Sweet Virginia 20226938
Anybody Seen My Baby? 18789150
Mother's Little Helper 17254951
Rocks Off 16851725
Emotional Rescue 16474682
As Tears Go By 16120071
Everybody Needs Somebody To Love 15734132
Monkey Man 15619341
Midnight Rambler 14684521
Shine A Light 14605807
Bitch 14587324
Happy 14547444
Moonlight Mile 14135099
The Last Time 13878402

"Bronze album":
Fool To Cry 13560704
Heaven 13293731
Let It Bleed 12725679
Doom And Gloom 12658469
She's So Cold 12393115
19th Nervous Breakdown 11775784
Hate To See You Go 11700852
Loving Cup 11660961
Like A Rolling Stone 11364410
Doo Doo Doo Doo Doo (Heartbreaker) 11336088
Shattered 11249329
Little Red Rooster 11125587
Just Your Fool 10497683
Out Of Control 10174465
Ride 'Em On Down 9983286
Love In Vain 9824955
It's All Over Now 9274005
Route 66 9256532
2000 Man 9060262
Not Fade Away 8418485

It also very interesting to see stats on other bands and artists and compare them using Spotify data (totals Streams) and how popular a band/artist is in todays measure.

So here some of them we would call "big ones":

Queen 10 034 185 102
The Beatles 7 997 649 777
Red Hot Chili Peppers 6 804 451 591
Michael Jackson 5 878 965 793
Pink Floyd 4 157 000 933
The Rolling Stones 4 033 651 594
Guns N' Roses 3 872 064 061
David Bowie 3 695 465 074
Elton John 3 529 643 459
Fleetwood Mac 3 434 935 677
U2 3 368 314 149
Led Zeppelin 3 348 349 501
Elvis Presley 3 179 649 133
Frank Sinatra 3 114 306 442
Bon Jovi 2 875 036 153
Bruce Springsteen 2 687 263 972
Madonna 2 667 038 102
Creedence Clearwater Revival 2 652 615 275
Rammstein 2 546 400 091
Pearl Jam 2 531 516 286
Whitney Houston 2 519 588 840
Stevie Wonder 2 464 279 787
Aerosmith 2 458 725 778
ABBA 2 271 495 300
The Beach Boys 1 564 248 357
Black Sabbath 1 420 157 434
Deep Purple 764 759 939

I would say our boys are in a very nice group of artists on that list. Of course Queens biggest commercial period has basically been in the last years. Altough I would like us to move ahead of Pink Floyd!

tiffanyblue, cheers for constructing those charts!

Did you put all the versions of each song together, including different live versions?

Seemingly some minor changes in the top: "Sympathy" has passed "Gimme Shelter" and "Miss You" "Honky Tonk Women". Like mentioned earlier in this thread the relative lack of success of two huge, signature songs "Honky Tonk" and "Jumping Jack Flash" amazes me.

As much I checked the other versions that I noticed that clearly the best streamed 'new' release of recent years is "Wild Horses (Acoustic Version)" from STICKY Deluxe with its 20 million streams. The closest are three cuts from BLUE & LONESOME and "Doom & Gloom" around 10-12 million streams. With its 7 million views "Living In A Ghost Town" has still a long way to catch those numbers.

What goes for the list of different (catalogue) artists streamed, yeah, once could say that the Stones is doing might fine there. Since Spotify reflects the taste of younger audience than these acts generally do, it is interesting to see, for example, that The Stones are listened more than such 'younger' acts' like U2 or Madonna. Queen is surely is in a league of its own, and it all has happened just within two years or so, the film having an incredible effect (like you tiffanyblue pointed out last year in this thread). Interesting (and great) to see the huge popularity of Red Hot Chili Peppers these days - it was to me always the best band from that era, one of the acts that actually offered something novel to the rock idiom at the time. I guess something to do with their emphasis on rhythm - something resonating with the kids today.

This is to say that at the moment the legacy of the Stones looks good. A lot of younger people are still listening to them.

We have to remember that behind these stream numbers the older the acts are the more they are most likely listened from people's own records (something not counted at all any longer)...

- Doxa



Edited 1 time(s). Last edit at 2020-06-09 16:41 by Doxa.

Steve Jobs had this idea, back when Apple released the first iPod, that people wanted to own their music. He gave Sympathy For The Devil as an example. He didn't think that people would want to pay to lose their music if they stop paying. I suppose, to rent listenablity.

Obviously that has flipped and a lot has changed: the iPod is obsolete, iTunes is just an online store now, Pandora, Amazon and Google caught up with their own music stores and streaming sites and, seemingly, and with nothing exclusive to just Apple anymore most people stream music in some way. I have no idea how many people are paying for streaming services (is there any way to know?) yet alone free, I only know of one person that listens to music on (free) Spotify almost every day.

I hardly use Spotify - basically only when a new song is out if I don't go to YouTube or haven't bought it (or the album) yet. Part of that is based on if I like the artist/band enough to buy the single/album.

For just a few artists I buy CDs, and with Amazon, generally you get a free download (didn't with the TALK IS CHEAP 30th) but I do buy with Google Music as well, generally singles. Occasionally there is the odd conversion of something from YouTube if it's not available commercially or on Spotify, like a live version of something or something really cool like the unedited version of She Was Hot.

Ha ha - in other words, I'm not one of those that listens to Paint It Black or Kashmir or Hey Jude or Margaritaville or Love Removal Machine or Back In Black or Comfortably Numb on Spotify.

Which I've always thought was very strange - there's all this music available to listen to yet a majority gravitate towards the greatest hits. When satellite radio came out it seemed like a fantastic thing at the time but eventually some things evolved to just ape Classic Rock radio. Everyone I know that has had satellite radio has cancelled it.

So, indeed, I listen to the music I have bought rather than streaming: it's just better.

My personal analysis of all the above given data is much in line with what I felt way back in the 60s. We Stones fans in those days felt like a special, weird "minority" bunch. The Beatles were the most popular (also in sales), but the Stones were special (not meant for the masses ). But ... the band made non-fans curious and still does so today among young people. So I am not surprised at all that Hot Rocks sold (and still sells) big. Those Big Hits compilations are mostly bought by "curious" music lovers. Just like the 1997-1998-1999 (end of 20st Century) concerts were unexpectedly visited by large numbers. Many thought the band would stop to exist and decided to go and see them before the "end" (because they had been curious all the time).
Recently young people in the USA (!) were asked if they knew Simon and Garfunkel but also if they knew the Rolling Stones. Well, guess what? The Rolling Stones are still BIG, even (or maybe because of) (after) 58 years living history.

Skippy/GasLightStreet, I think the Spotify pretty much reflect the function of greatest hits albums back in the day - that is, give to 'casual fans' what they want to hear. And like back then HOT ROCKS occasionally makes TOP 200 in Billboard Album Charts by the sheer streaming power of their biggest hits. If there is any winner here that's ABKCO - shit, they don't need to do anything any longer, which costs money (like printing physical albums, distributing them, etc). Just keep the stuff online and collect the money. As streaming business is critizised, the only instance making some real money is the record companies - what the artists themselves get is a very marginal amount of royalties - heavily less in percentage than what they get from sold copies. It looks like that when the streaming thing started, the record companies made such deals with Spotify and etc. that they will remain in business, the artists less so. They were cruelly smart.

Anyway, probably most of us here belong to old guard in the sense of buying stuff still. But that is a generational thing. Damn the younger people seemingly do nothing else but stream these days! Since the whole thing's been around for 15 years or so, I guess the age barrier starts to be around 25 or even more under which people do not buy music at all. Take 10 to 20 years more what that will mean for good old physical format of music. We buyers of it - those who want to 'own' music - are literally dying off (and also some of us in old guard are already skipping buying stuff)... As we have seen record companies (and our heroes) are busy now releasing whatever deluxe versions in big boxes full of whatever material while we still are here. But it is a dying business if not any miracle-like turn in business doesn't happen (sorry but I can't see it as realistic). Soon all of it will be collector's stuff and it is the job of tomorrow's market to estimate the value of such ancient thing.

So let us buy still music while we can!

- Doxa

P.S. Georgie48 made a related similar-sounding observation about 'casual fans' while I wrote mine!



Edited 4 time(s). Last edit at 2020-06-09 22:06 by Doxa.

When The Beatles reissued SGT PEPPERS as the remix and the various takes, I bought the double CD.

With THE BEATLES and ABBEY ROAD super deluxe sets, I bought them download via Google Music - it was cheaper and, I dunno, I just figured the hell with it, I don't need anymore big boxy things of music. I forget the price difference but it was enough that knowing I wanted to be able to do what I wanted with the music I bought it just as a download was a better deal.

The new Stones single I bought the download - there is zero reason for me to find a hard copy, at this time, and pay for just one track. If it had a couple of different edits on it, I'd consider it.

New albums by certain artists - I realize I am in the group of 'hardly any of ya left' buying hard copies, which is either vinyl or CD. What's funny, in a strange way, is that CDs used to be way more expensive than vinyl versions of an LP. It's mind blowing to me how much it costs to buy a new vinyl LP vs a compact disc LP these days...

Quote
tiffanyblu
It also very interesting to see stats on other bands and artists and compare them using Spotify data (totals Streams) and how popular a band/artist is in todays measure.

So here some of them we would call "big ones":

Queen 10 034 185 102
The Beatles 7 997 649 777
Red Hot Chili Peppers 6 804 451 591
Michael Jackson 5 878 965 793
Pink Floyd 4 157 000 933
The Rolling Stones 4 033 651 594
Guns N' Roses 3 872 064 061
David Bowie 3 695 465 074
Elton John 3 529 643 459
Fleetwood Mac 3 434 935 677
U2 3 368 314 149
Led Zeppelin 3 348 349 501
Elvis Presley 3 179 649 133
Frank Sinatra 3 114 306 442
Bon Jovi 2 875 036 153
Bruce Springsteen 2 687 263 972
Madonna 2 667 038 102
Creedence Clearwater Revival 2 652 615 275
Rammstein 2 546 400 091
Pearl Jam 2 531 516 286
Whitney Houston 2 519 588 840
Stevie Wonder 2 464 279 787
Aerosmith 2 458 725 778
ABBA 2 271 495 300
The Beach Boys 1 564 248 357
Black Sabbath 1 420 157 434
Deep Purple 764 759 939

I would say our boys are in a very nice group of artists on that list. Of course Queens biggest commercial period has basically been in the last years. Altough I would like us to move ahead of Pink Floyd!

I'm surprised AC/DC isn't in this list.

Quote
Doxa
Skippy/GasLightStreet, I think the Spotify pretty much reflect the function of greatest hits albums back in the day - that is, give to 'casual fans' what they want to hear. And like back then HOT ROCKS occasionally makes TOP 200 in Billboard Album Charts by the sheer streaming power of their biggest hits. If there is any winner here that's ABKCO - shit, they don't need to do anything any longer, which costs money (like printing physical albums, distributing them, etc). Just keep the stuff online and collect the money.

HOT ROCKS is a regular visitor on the Billboard 200, the album spent 68 weeks on the chart during the last 2 years:

Re #17: 26/05/2018 194-0-188-0-0-0-196-139-148-183-155-155-150-156-166-166-174-179-172-182-180-185-188-170-145-197 (22-20c wks, 289 wsf)
Re #18: 12/01/2019 167-160-153-172-175-187-186-173-183-183-170-170-167-156-157-0-0-0-0-199-198-0-183-0-179-163-161-152-153-149-139-149-145-143-153-177-195 (31-15c wks, 320 wsf)
Re #19: 02/11/2019 196-181 (2 wks, 322 wsf)
Re #20: 15/02/2020 158-0-140-0-0-0-0-153-154-152-147-141-133-139-148-143-139-155 (13-11c wks, 335 wsf)

It ranks at #155 on this week's chart:

Hey Georgelicks, what do you estimate the Stones US sales would be since their last certifications? Last time I looked, Hot Rocks was at 12 million but it must be at least a couple million more than that by now?

Quote
DGA35
Hey Georgelicks, what do you estimate the Stones US sales would be since their last certifications? Last time I looked, Hot Rocks was at 12 million but it must be at least a couple million more than that by now?

The Stones post Decca catalog was last updated in May 2000 and the latest Decca update was Hot Rocks in October 2002.

Their catalog is way under certified, Exile is still Platinum (it should be 3-4x at least), Some Girls has sold another million since 2000, Sticky Fingers the same, Forty Licks should be at 6x Platinum (it sold 3 million copies), Hot Rocks has sold way over 2.5 million copies since 2002 (it sold over 500k only in the last 2 years) it should be at 16-17x Platinum by now.

Almost every 60's albums is under certified, the latest certifications for most of their Decca catalog was on 1989 previous to the Soundscan era.

From their current RIAA total (66.5m), I can count 20-25 million sales from missing certifications, their total should be close to 90 million.

<As streaming business is critizised, the only instance making some real money is the record companies - what the artists themselves get is a very marginal amount of royalties - heavily less in percentage than what they get from sold copies>

That's true if you're a band/artist without your own record company.

Many artists have their own companies today, and licence their music to a bigger company (like UMG). Some even own everything themselves, and make lots of money on streaming, skipping the physical distribution-part totally.

What I'm trying to say is it depends on how you're connected to the bigger record company.

A remarks on the assumed "poor" sales of Beggars Banquet.
What I remember well is the negative publicity around the album due to a conflict between DECCA and the Stones about the album cover. It postponed the release of the album a lot. Most of the time negative publicity doesn't harm the band, but in this case, I think, it did. DECCA apparently wasn't in the mood to spend promotional money on the album too. Also people we a little weary/cautious after TSMR and didn't bother checking out on BB.
As mentioned earlier, Street Fighting Man was radio banned in the USA, which didn't help either. The song was very popular in Europe though.
Ah, and it's such a great album. Some people don't realize what they are missing

Georglicks, have you seen this hilarious article!???

...Pink Floyd’s 1979 album, “The Wall,” eventually sold 23 million copies in the United States.

No, it didn’t, I grumbled to myself. It’s a double-album—by RIAA math, that means it sold about 11.5 million...

...nothing in the RIAA metals methodology sticks in my craw more than double-counting. It’s the biggest scam in record-industry self-tallying, and the main reason it’s infuriating is the very example cited above: journalists and music fans the world over use the RIAA’s certs as their yardstick for all-time album sales. It’s basically a total distortion of rock history. When you buy one copy of a double album, you give that album two sales toward its RIAA total. Buy a five-disc box set, and your sale is multiplied by five. So while, say, Houses of the Holy had to sell one million copies in 1973 to go platinum, the four-disc Led Zeppelin box set had to sell just 250,000 in 1990 to get the same certification.

[www.idolator.com]

EXILE is a vinyl double album. It's a CD single album. The same goes for VOODOO, BRIDGES, BANG and B&L. The numbers for those might not be accurate if both formats are counted the same, meaning, if someone bought all 5 vinyl editions of those albums then sales for those would tally as 10 albums sold.

Which is bunk, of course.

If that's how Soundscan is still counting. I Googled it and couldn't find one thing about how they tally album sales of any kind (including box sets), it was just about gold, platinum etc.

I get 'do the math' for figuring out how many copies were sold, not records, however, I thought Soundscan changed that way of counting.

Okay, let's have fun a bit here. There've been threads like " The Stones songs I don't like" but let's try that by little more objectively, that is, by statistical numbers. The source is the always trusty Spotify - that is, the one reflects best at the moment how the songs are remembered by casual listeners nowadays. Since there is so much whatever kind of stuff over there I took the 'released in a proper studio album' as a criterion. That is, all kinds of single b-sides, other oddities (such a as METAMORPHOSIS and JAMMING WITH EDWARD material), live versions etc. is left out. The streams are in thousands.


BOTTOM 70: THE LEAST LISTENED ALBUM TRACKS IN SPOTIFY


1. "Back to Zero" DIRTY WORK 243,0
2. "Pretty Beat Up" UNDERCOVER 245,7
3. "It Must Be Hell" UNDERCOVER 251,3
4. "Feel On Baby" UNDERCOVER 254,0
5. "Hold Back" DIRTY WORK 276,2
6. "Break The Spell" STEEL WHEELS 314,9
7. "Too Tough" UNDERCOVER 317,0
8. "Winning Ugly" DIRTY WORK 319,2
9. "Tie You Up" UNDERCOVER 326,4
10. "All The Way Down" UNDERCOVER 334,9

Well, as we can see the all-time fan favourite "Back to Zero" has taken its place at the 'top'. Otherwise it is a 80's dominated 'top' ten, probably a bit surprisingly UNDERCOVER heavily represented (6 tracks!).

11. "Had It With You" DIRTY WORK 335,4
12. "Too Rude" DIRTY WORK 342,9
13. "Sleep Tonight" DIRTY WORK 344,4
14. "Look What You've Done" DECEMBER'S CHILDREN 346,7
15. "Wanna Hold You" UNDERCOVER 364,9
16. "What To Do" AFTERMATH 372,4
17. "Continental Drift" STEEL WHEELS 391,5
18. "Hold On To Your Hat" STEEL WHEELS 401,2
19. "Blue Turns To Grey" DECEMBER'S CHILDREN 433,9
20. "Hearts For Sale" STEEL WHEELS 467,6

Three odd cuts from the 60's - DECEMBER'S CHILDREN and AFTERMATH tracks seemingly suffering from the context. Especially the inclusion of "What To Do" is explained by being discovered only in UK version of AFTERMATH. The other US AFTERMATH 'rejects' can be found in FLOWERS (none making bottom 70 at all).Still dominated by the 80's.

21. "Mean Disposition" VOODOO LOUNGE 493,1
22. "Talkin' About You" OUT OF OUR HEADS 496,9
23. "Blinded By Love" STEEL WHEELS 502,1
24. "Short And Curlies" IT'S ONLY ROCK'N'ROLL 544,7
25. "All Sold Out" BETWEEN THE BUTTONS 548,7
26. "On With The Show" THEIR SATANIC MAJESTIES REQUEST 556,4
27. "Ride On Baby" FLOWERS 603,0
28. "Oh Baby (We Got A Good Thing Goin') THE ROLLING STONES NOW! 569,1
29. "Complicated" BETWEEN THE BUTTONS 612,1
30. "Infamy" A BIGGER BANG 585,8

The 70's, 90' and 00's making an entrance by a track each. We need to note that ON AIR version of "Oh Baby" has a nice 536,6k streams.

31. "Where The Boys Go" EMOTIONAL RESCUE 586,6
32. "Sweet Neo Con" A BIGGER BANG 591,1
33. "Too Much Blood" UNDERCOVER 592,7
34. "Baby Break It Down" VOODOO LOUNGE 593,0
35. "Gomper" THEIR SATANIC MAJESTIES REQUEST 598,0
36. "Something Happened To Me Yesterday" BETWEEN THE BUTTONS 599,3
37. "Look What The Cat Dragged In" A BIGGER BANG 615,2
38. "Driving Too Fast" A BIGGER BANG 616,3
39. "Suck On The Jugular" VOODOO LOUNGE 617,7
40. "Can't Be Seen" STEEL WHEELS 632,0

Familiar sounding albums by now, right? EMOTIONAL RESCUE makes also a presence.

41. "Please Go Home" BETWEEN THE BUTTONS 717,2
42. "Dangerous Beauty" A BIGGER BANG 647,1
43. "My Obsession" BETWEEN THE BUTTONS 653,0
44. "Who's Been Sleeping Here" BETWEEN THE BUTTONS 655,4
45. "Sing This All Together (See What Happens) THEIR SATANIC MAJESTIES 659,4
46. "One More Try" OUT OF OUR HEADS 664,4
47. "Summer Romance" EMOTIONAL RESCUE 667,5
48. "Miss Amanda Jones" BETWEEN THE BUTTONS 737,4
49. "If You Really Want to Be My Friend" IT'S ONLY ROCK'N'ROLL 706,2
50. "Luxury" IT'S ONLY ROCK'N'ROLL 713,5

BETWEEN THE BUTTONS clearly makes it clear by now that it is the most 'forgotten' album from the 60's.

51. "I Can't Be Satisfied" THE ROLLING STONES NO 2 735,8
52. "Sad Sad Sad" STEEL WHEELS 741,1
53. "All About You" EMOTIONAL RESCUE 742,0
54. "Might As Well Get Juiced" BRIDGES TO BABYLON 746,0
55. "She Saw Me Coming" A BIGGER BANG 746,8
56. "Cool, Calm And Collected" BETWEEN THE BUTTONS 754,4
57. "Brand New Car" VOODOO LOUNGE 755,0
58. "Oh No Not You Again" A BIGGER BANG 759,0
59. "How Can I Stop" BRIDGES TO BABYLON 769,0
60. "Thief In The Night" BRIDGES TO BABYLON 772,6

BRIDGES TO BABYLYN entering on a scene big time, the rest as usual.

61. "Sweethearts Together" VOODOO LOUNGE 794,0
62. "Fingerprint File" IT'S ONLY ROCK'N'ROLL 797,2
63. "Let Me Go" EMOTIONAL RESCUE 803,2
64. "Always Suffering" BRIDGES TO BABYLON 814,2
65. "Too Tight" BRIDGES TO BABYLON 833,5
66. "Back of My Hand" A BIGGER BANG 843,3
67. "New Faces" VOODOO LOUNGE 887,9
68. "This Place Is Empty" A BIGGER BANG 902,6
69. "Can You Hear The Music?" GOATS HEAD SOUP 909,8
70. "You Don't Have To Mean It" BRIDGES TO BABYLON 920,9

No surprises here, except one - first and only- non-IORR track from the 70's. Business as usual.


Just lurking above:

71. "Take It Or Leave It" AFTERMATH 926,3
72. "Gunface" BRIDGES TO BABYLON 938,2
73. "Down In The Hole" EMOTIONAL RESCUE 952,8


Some tracks I rejected:

"Losin' My Touch" FORTY LICKS 44,3
"Stealing My Heart" FORTY LICKS 58,3
"Key To Your Love" FORTY LICKS 60,0
"I'm Moving On" (LIVE) DECEMBER'S CHILDREN 530,1
"Highwire" FLASHPOINT 619,2
"Who's Driving Your Plane?" SINGLES COLLECTION LONDON YEARS 621,3
"Sad Day" SINGLES COLLECTION LONDON YEARS 657,4
"I Think I'm Going Mad" SINGLES BOX SET 661,7
"I Want To Be Loved" SINGLES COLLECTION 673,7
"One More Shot" HONK 713,7
"Stoned" SINGLES COLLECTION LONDON YEARS 756,5
"Through The Lonely Nights" SINGLES BOX SET 775,2
"Money" 60's UK EP COLLECTION 846,9
"Poison Ivy" 60's UK EP COLLECTION 874,6
"Sex Drive" FLASHPOINT 938,0


More comments later.

- Doxa



Edited 4 time(s). Last edit at 2020-08-25 18:31 by Doxa.

It's fascinating that people stream New Faces more often than Fingerprint File, to choose one example

Criminal that so many Undercover cuts in the bottom 10, particularly Too Tough.

The heart wants what the heart wants I guess.

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treaclefingers
Criminal that so many Undercover cuts in the bottom 10, particularly Too Tough.

The heart wants what the heart wants I guess.

The ultimate crime is here - "Losin' My Touch" FORTY LICKS 44,3

AppleMusic has more users than Spotify. Would be interesting to see if the choices are similar to Spotify regarding the Stones.

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ironbelly

Quote
treaclefingers
Criminal that so many Undercover cuts in the bottom 10, particularly Too Tough.

The heart wants what the heart wants I guess.

The ultimate crime is here - "Losin' My Touch" FORTY LICKS 44,3

Those three FORTY LICKS tracks are total losers in Spotify. The compilation is totally yesterday's papers now. No one finds the tracks any longer.

- Doxa



Edited 1 time(s). Last edit at 2020-08-25 18:34 by Doxa.

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Doxa

Quote
ironbelly

Quote
treaclefingers
Criminal that so many Undercover cuts in the bottom 10, particularly Too Tough.

The heart wants what the heart wants I guess.

The ultimate crime is here - "Losin' My Touch" FORTY LICKS 44,3

Those three FORTY LICKS tracks are total losers in Spotify. The compilation is totally yesterday's papers now. No one finds the tracks any longer.

- Doxa

It solidifies what a dumb idea it was for them to put new music on a career spanning hits comp. So dumb. Incredibly dumb.

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Doxa

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ironbelly

Quote
treaclefingers
Criminal that so many Undercover cuts in the bottom 10, particularly Too Tough.

The heart wants what the heart wants I guess.

The ultimate crime is here - "Losin' My Touch" FORTY LICKS 44,3

Those three FORTY LICKS tracks are total losers in Spotify. The compilation is totally yesterday's papers now. No one finds the tracks any longer.

- Doxa

Is 40 Licks on Spotify at all?