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| salv97 |
anyone know the figure as it stands today, thanks |
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| Joey |
CNN reports that Mick's solo disc sold 28,456 copies in the U.S. and 9,345 copies in the UK .
Not bad considering that he did not get the chance to support the record with a tour .
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| Mathijs |
Joey, you're mad or something? 40.000 copies in the US and UK is "not bad"? The greatest and biggest rock singer of all time, one whom sold more than 250 mil copies worldwide, one whom performed for millions of people for over 40 years, and the 40.000 is "not bad"?? It's a bloody shame!
Did you know that there are more copies sold of the Brussels Affair bootleg than Goddess in the Doorway?
Mick should either do one last Stones tour, or, preferably: quit the bussiness.
Mathijs
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The Rolling Stones in Review
http://stonesinreview.tiscaliweb.nl/
Bootlegs for Sale
The Lowdown on the Guitars of Keith Richards
Bootleg Reviews
Brussels Affair 1973
Vinyl Gang Productions / The Swingin' Pig
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| Stonesdoug |
The CNN report is wrong. Before Goddess fell off the charts it had sold over 280,000 copis in the US. It has to be over 300,000 now. |
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| the lepper |
280-300,00 is a respectable amount of sales in this day and age. Nowdays, you have the occasional flavor of the month rock band, rap artists and the boy bands that sell 6-7 million, everyone else is doing well to sell 250,000. It's a shame really, and it all goes back to radio and the pathetic state it's in. The disappointing thing regarding Mick is how much time and money was spent promoting his record, with minimal returns. It's just the stae of music these days. |
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| MickChick |
But how much did he sell worldwide...? Isn't that even more important then just Britain ok the U.S.A? |
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| Joey |
"Did you know that there are more copies sold of the Brussels Affair bootleg than Goddess in the Doorway? "
And rightfully so ! " Brussels Affair " is a masterpiece . It is the greatest live album ever ......better than " Live at Leeds " by the WHO .
Record sales are notoriously suspect . Who cares how many copies are sold . The real money is made on the tours . Hell , most bands make more money on Tee - shirt sales than they do selling albums .
The Rolling Stones and the WHO will make tens of millions of dollars this year on the concert circuit -- good for them -- both bands have paid their dues and deserve to reap the rewards for their lifetime of sacrifice and hard work entertaining us all . Hard work pays off !!!!!!!
" Early to bed , early to rise ;
work like Hell and advertise "
-- Ted Turner ( 1997 )
" Where is my dope ? "
-- Joey ( 1977 , 78 , 79 , 80 , 81 , 82-89 , 92 , 94-97 , 99 , 2001 - 2002 )
" Bite my Ass Ronnie "
Joey
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| yellow1 |
where did you see these "CNN" numbers, this is big BS !
His album had sold 280,000 in the US at the end of December !
It's probably in the 500,000 worldwide by now. Not bad, but not great of course.
The worst part I guess is that it now seems that we won't be getting a new Stones album this year, so Mick's better songs from GITTD could have been merged with some of keith's for that. I really HATE to see them embark on a best of tour (second in a row if you count NS in 1999) just like The Who... |
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| lucasd |
Jagger's album has sold over 300,000 in the U.S. alone...about the same numbers as recent albums by other rock vets like McCartney, Elton John, and John Mellencamp...given the state of music today, those numbers are not all that bad...since Jagger is appreciated around the world, the album has sold at least 500,000 copies total... |
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| Gazza |
....which is a shitload more than "No Security" did - with a massive tour to promote it! |
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| st0nesfan |
"I really HATE to see them embark on a best of tour (second in a row if you count NS in 1999)" - Yellow1
The only reason the Stones did NS was to keep the momentum up between the 1st and 2nd leg on the B2B tour. It wasn't a "best of tour."
[Edited by st0nesfan] |
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| The Eggman |
I mean really....NO SECURITY was a waste of time...just a spin off of B2B, and the very thought of seeing them in concert as to date, which i wouldnt buy the cd (such as NS) but instead see them live instaed,
funny how it works |
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| yellow1 |
Eggman, not sure I'm following here...
To their credit, they pretty much HAD to tour in 1999 to make up for the missed 98 dates (tax problems for Ronnie and Charlie), so No Security was a stop gap. Would have preferred them to release the "Memory Motel" SW/VL/B2B outtakes though ! |
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| Cardinal Ximinez |
Yellow1...
Use some of Mick's better songs off Goddess for a Stones album......EEEEEEEEEEEEEEEWWWWWWWWWWWWWWW!!
That is exactly what we DON'T need. I don't want another album of Mick songs and Keith songs. What we need is for Mick and Keith to lock themselves in the kitchen with a guitar and write about 25 songs TOGETHER! IMO, B2B suffered from an identity crisis. It couldn't decide if it was a Mick effort or a Keith effort. It should have been a STONES effort. But what we got was some Mick songs and some Keith songs..2 solo efforts slapped together. And the result wasn't what we would have wanted. It sounded schizo to me.
What I think we'd all like to hear is some honest to God Jagger/Richards songs. Besides, there was nothing on Goddess that's worthy of being on a Stones album. |
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| yellow1 |
oh so you're a GITD basher too ?...
I'll pass on that aspect of things.
I agree, ideally we'd get a genuine Mick/Keith collaboration, but that's unlikely to happen. Even when they tried for SW and VL, there were still Mick and Keith songs.
Just like on B2B really, there are some genuine collaborative efforts, like Lowdwown, MAWGJ (before Dust Bro production), probably Too Tight and Flip The Switch too. |
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| The Eggman |
Cardinal , you should follow, NO SECURITY in its own writ, BLEW and was a waste of time |
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| Cardinal Ximinez |
Yep, Eggman...NS certainly blew. The B2B tour was much better than the NS album represented. It would have been better to delay the NS album to get a combination of the B2B & NS tours.
Now as to WHY the NS album blew....easy, it DIDN'T ROCK.
Yellow1...Yeah, I make no secret about my dislike for Goddess...I don't like that style of music. To me, it sounded like slick overproduced fluff. If putting out slick overblown fluff is being progressive, then I don't want to progress.
Here's what I like...big ol' snarlin' guitars, belly jigglin' bass, scrotum kickin' drums, and vocals spit out like venom....nowhere to be found on Goddess. |
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| The Eggman |
Hated NO SECURITY but yet loved Goddess In The Doorway
hummm....go figure!  |
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| CS |
Building a better hit*
The record companies behind high-profile albums sometimes hit paydirt, sometimes hit the wall. Here's a look at why.
By Lou Carlozo
Tribune staff reporter
Published February 24, 2002
All the music mogul clout, payola and hype can't turn an album into a chart topper. By contrast, not even an avalanche of boy bands, bland Britneys and safe Celines can stop a word-of-mouth phenom from scaling the peaks of success.
How do artists and their record labels approach the hitmaking process? To answer that question, the Tribune examined two releases, Alicia Keys' "Songs in A Minor" (J Records; release date June 26, 2001) and Mick Jagger's "Goddess in the Doorway" (Virgin Records; release date Nov. 20, 2001). Both records' marketing campaigns were backed by the power and money of major corporations. Here's how both records were prepared and how they fared:
THE PLAYERS
The pro: At 58, Mick Jagger is not only a veteran rocker with four decades of experience under his studded belt; he's also a former London School of Economics student, and no dummy when it comes to finance: The Rolling Stones were the first band to get corporate tour sponsors. On the down side, his previous solo albums have received flat reviews. This record was Jagger's opportunity -- perhaps his last -- to show he could have a hit album on his own.
The protege: Being the first artist on a new label sounds risky. But Keys -- an R&B singer and classically trained pianist -- was working with legendary Arista Records founder Clive Davis, the man who helped discover Janis Joplin, Bruce Springsteen, Billy Joel and Whitney Houston. After the aging Davis was forced out at Arista, some industry insiders wondered whether he should retire. Instead, he founded upstart J Records, and Keys, who was only 20, was his chance to prove naysayers wrong. Still, Keys was far from a safe choice. A nearly complete album that she made for Columbia Records was spiked after Keys had a falling-out with label execs. What's more, she wanted creative control in the studio, a rarity for even a veteran, let alone a teenage rookie.
THE SANTANA FACTOR
Jagger: Carlos Santana's "Supernatural" snared 10 Grammy Awards, sold more than 22 million copies and made more than $300 million -- feats that inspired record company execs to try to duplicate its star-studded formula, even to the point of importing Rob Thomas, Matchbox Twenty singer and star "Supernatural" player, to work with everyone from Willie Nelson to Marc Anthony. Jagger blatantly aped Santana by tapping Thomas to sing on the opening track, "Visions of Paradise." He also rounded up Bono, Pete Townshend, Wyclef Jean and Lenny Kravitz to contribute their talents to "Goddess." Keys: Unlike Santana, Keys was a neophyte. But while Davis held the reins at Arista, he created the Santana strategy of pairing an artist with an all-star cast of hip musicians, so it was no problem for him to round up stars such as Isaac Hayes and Jermaine Dupri to appear on "Songs in A Minor."
RADIO STRATEGY
Today, few records gets played on major FM radio without help from an independent promoter, a powerful link between the record label and station. Chicago's Jeff McClusky & Associates, perhaps the most influential promoter in America, confirmed that it peddled songs from both the Jagger and Keys discs. The catch: Indies can open a door to airplay, but music directors, trendsetting stations, deejays and listeners must respond favorably.
Jagger: Besides having independent promotion from the likes of McClusky, Jagger had a nationally syndicated radio special to coincide with his November album release, hosted by WXRT-FM 93.1 deejay Lin Brehmer.
Keys: Thanks to MTV, Keys had a hit single, "Fallin'," before her album even came out. The follow-up single was supposed to be "A Woman's Worth," but when FM stations started playing "Jane Doe" instead, Davis decided to let them have their way -- and thus got them involved in building buzz.
INTERNET STRATEGY
Jagger: Mick filled his mickjagger.com Web site with flashy graphics and audio. In a co-promotion with Microsoft, Jagger offered a download of a new, live video of "God Gave Me Everything." He also signed up to do an online chat on MSN in February.
Keys: As the Backstreet Boys' management did, Keys' handlers organized an Internet fan club and promotional "street team." In the months after her album was released, she also chatted or appeared on Kiwibox.com, Getmusic.com, Spinner.com, CDNow.com and America Online's Artist Discovery Network.
TV EXPOSURE
Jagger: Jagger shot a one-hour documentary, "Being Mick," that aired on ABC two days after his album release (models were reportedly paid to join the VIP crowd at L.A.'s El Rey Theater). Jagger also appeared at Paul McCartney's all-star benefit concert for Sept. 11 victims.
Keys: Davis sent Oprah Winfrey a handwritten letter, along with Keys' "Fallin' " video. Keys' June 21 appearance on Oprah's "Women Who Sing" episode was not only a testament to her talent but also to Davis' starmaking power -- or, some would say, his hype abilities. Keys also appeared on the "Tonight Show," "Saturday Night Live" and "America: A Tribute to Heroes." And her video shot to No. 1 on BET's "106 and Park" even before her album came out.
PRESS COVERAGE
Jagger: Mick has a powerful Los Angeles publicist (Rogers & Cowan) and lots of media pals. But in a dubious move, Rolling Stone editor Jann Wenner gave "Goddess" five stars, a move that fueled backlash against the record. Mick got press in USA Today and the Boston Phoenix but not much elsewhere, reflecting the lackluster response to his record.
Keys: Keys' album racked up press after her album debuted at No. 1 and scored a clutch of award nominations. Soul Train, VH1, MTV and Billboard all lavished honors on her; more press came when Keys earned six Grammy nominations, including Best New Artist. Also, Keys was on the cover of Rolling Stone and Blender, which named her Best New Artist and Artist of the Year, respectively.
THE UPSHOT
Keys' record sold 4 million copies; though Jagger's album got middling reviews, he didn't come close to that total. By the end of January, Jagger's album had sold 275,000 discs, according to SoundScan, and had dropped to No. 192 on the Billboard chart. Keys was still at No. 8. What's worse, Jagger's prime-time TV special, "Being Mick," finished 92 out of 106 shows. Even a rerun of "Rudolph the Red-Nosed Reindeer" trounced poor Mick. Why did Keys succeed and Jagger fall flat? For starters, Keys toured to support her record, opening for Maxwell and then headlining. Jagger did not. Also, Davis "started marketing [Keys] six months before her record went in stores," said Larry Flick, senior talent editor at Billboard magazine.
That marketing effort was not just on video channels like MTV and BET, but also behind the scenes. "Clive Davis not only knows how to put a great record out, but rally the troops around it," said Gregg Latterman, president and founder of Aware/Sony Records. "I call it going to war; you can't take any chances, it's life or death. He goes to the end of the earth to make it happen." As for youth appeal, "I don't think people care about Mick Jagger anymore," Latterman said. "He's tried to be cool and current -- image-wise, he's really cool -- but I don't think it's sexy for kids in their teens to buy a Mick Jagger record. They want something young their peers are talking about, like Alicia Keys."
OTHER HIT-MAKING STRATEGIES:
MOVIE TIE-INS: Keys' song "Rock Wit U" appeared on the "Shaft" soundtrack. A new song, "Fight," is in "Ali." Should Jagger place a song in a movie (an easy task, since he owns Jagged Films), it could revive sales of "Goddess"--though that's unlikely at this late stage.
THE GRAMMYS: Nearly 27 million viewers watched the Grammys last February. This year's show will provide valuable exposure for Keys; if she wins any major awards on Wednesday's Grammy telecast, it's possible she could sell millions more copies of her album.
ADS: Ad background music is becoming a way for artists to score a hit. The late Nick Drake was rediscovered thanks to a Volkswagen ad, and Moby's "Play" went multiplatinum thanks to TV commercials.
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