I’m a neurotic music listener, which means I have playlists for everything.
Usually, I can look back on those song collections and remember exactly where I was in life, where I lived, how happy I was or which Playboi Carti I was listening to 20 times a day.
But when I reflect on my playlists from the last six months, I see words like “nostalgia” and “cry.” One playlist has a title that features the facepalm emoji. Another is dedicated solely to songs that, ironically, sound better when played in a crowd.
It’d be an understatement to say my music choices have changed over the past half year, and apparently, I’m not alone.
According to a study released by Nielsen Music/MRC Data earlier this summer, our country’s listening habits have made some drastic left turns since March — when the coronavirus pandemic changed just about every part of our daily lives.
Glenn Peoples, Billboard’s lead analyst, explained our months of quarantining as a “pressure cooker,” which has fast-tracked trends that may have been bubbling below the surface.
“I think it accelerated a lot of consumer behaviors that would’ve happened anyway, but now it’s like a pressure cooker for trends and changes in the market,” he told In The Know.
These changes are widespread, and they’re affecting a lot more than what anal retentive music fans (like me) name our playlists. Since March, Americans have changed not just what they’re listening to but also where they listen and how often they do it.
An ‘on-the-go’ habit
Before the pandemic, the music industry was having a record year. From Jan. 1 to March 12, total audio activity — that is, how much people are listening to music across all formats — was up by 14.6 percent over the same period in 2019, per Nielsen Music/MRC Data’s analysis.
Strangely, audio activity has kept growing since then but by a smaller margin. From March 12 to July 2, listening had fallen to a 6.2 percent rate of growth compared to 2019.
So what caused the drop-off? The report shows a sharp decline for physical album sales during the first months of quarantine, although there’s some evidence that this trend has reversed.
Streaming also saw a decrease. On-demand listening on apps like Spotify and Apple Music was up by more than 20 percent during the first two months of 2020, but that figure fell to around 14 percent from March to July.
It’s a change that, according to Peoples, has some at least some connection to our new normal. For example, music fans are no longer driving hours to and from work each day, or blasting their volume to drown out annoying subway passengers.
“Music streaming is very much an on-the-go kind of product. It’s very much tied to the smartphone,” Peoples told In The Know. “And if people are not out of the home … they’re gonna stream less.”
Music has gotten less personal since March, but in the process, it’s become more communal. For example, Peoples said smart-speaker listening had grown during the first months of the pandemic, as families and roommates holed up at home with their favorite albums.
‘Family friendly’ music
Of course, different music sounds better in different environments. For example, would you rather listen to Beyoncé’s “Lemonade” album on a $5 pair of earbuds or through a surround-sound speaker system?
Our choices in quarantine have been less obvious. Without many of our ritualistic listening spaces (the car, the gym or the wine aisle at Trader Joe’s), we’re not queueing up the same genres as usual.
In fact, Nielsen Music/MRC Data’s research found that all but two genres saw their listening numbers decrease during the first weeks of quarantine when compared with the growth during 2020’s pre-pandemic months.
One exception: country music. The genre saw a 21.4 percent increase during that time, a trend Peoples tied largely to technology.
Country fans, he explained, have traditionally been slower to latch onto new music trends like streaming services and smart speakers. During quarantine, though, they didn’t have a choice but to make the switch.
Then there’s the nature of quarantine itself. Suddenly, families were spending all of their time at home together, and, as Peoples described it, country offered a “family-friendly” option.
“People didn’t have to worry about playing it around their kids,” he said.
It’s impossible to prove exactly why families are queuing up Dierks Bentley over say, Lady Gaga, but kids are certainly playing a role. Nielsen Music/MRC Data also found that, after schools nationwide closed their doors in March, children’s music saw its own bump in popularity.
‘A break from reality’
Nostalgia might not be a genre, exactly, but just like country music, it’s having a moment. Nielsen Music/MRC Data’s analysis found that, during the pandemic, people sought comfort in the familiar.
“Older” songs — defined by Nielsen Music/MRC Data as anything released more than 18 months ago — saw an increase in the first months of quarantine. In fact, as the report states, 87 percent of consumers “turned to music they usually listen to.”
Peoples said that to him, the trend shows people may have been identifying older music as a “soothing” alternative to the current state of affairs.
“They needed a break from reality, and I think older music was probably very soothing to people,” he told In The Know.
Just like in my quarantine playlists — one of which is strictly devoted to songs I loved in the 10th grade — music fans are gazing backward. That’s not to say new music has become invisible though.
There’s been an exciting amount of new music of the past six months, even with A-listers like Lady Gaga and The Chicks pushing back their albums at the start of the pandemic.
Those records, among others from superstar artists like Taylor Swift, got plenty of shine during quarantine, while platforms like TikTok have continued boosting new artists — including Doja Cat, Saint Jhn and Roddy Ricch — to the top of the charts.
Throwbacks might be surging, but it’s clear we’re still on the lookout for new songs.
As Peoples explained, music fans won’t ignore the chance to discover what’s new — especially if it comes easily. He specifically pointed to Spotify’s New Music Friday playlist, which updates with the latest releases each week, as an example.
“They’re gonna listen to that whether or not some country star released a single that day,” Peoples said.
It might be the optimist in me, but it feels like there’s some encouragement in that thought. The pandemic has changed so much about our daily lives, and as a result, how we use music to cope with the world around us.
Our habits might be changing — which isn’t necessarily good or bad — but new music keeps coming out, and we keep listening. In a year where everything feels different, there’s something a little comforting in that.
If you liked this story, check out In The Know’s article on how nationwide protests has shed new light on older songs.
Source: https://www.intheknow.com/2020/09/11/music-listening-pandemic-covid19-nielson-billboard-spotify/
11/28/2020
11/27/2020
The Past Year, And Decade, In Music Listening: Video Rules, The Boy's Club Remains
Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade. Kirsty Lee / EyeEm/Getty Images/EyeEm hide caption
Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade.
As we ease into the 2020s, data about the music industry's growth is more abundant than ever.
Within the last week, BuzzAngle and Nielsen Music — the two central, competing, public-facing music-data firms in the U.S. — released their annual reports on music listening trends. BuzzAngle powers Rolling Stone's charts and is owned by Penske Media, the parent company of Rolling Stone, Variety and Deadline; Nielsen Music was acquired by Valence Media, the parent company of Billboard and The Hollywood Reporter, in December 2019.
The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen's 24% to BuzzAngle's 32%).
Nielsen's report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade — country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-selling albums of the decade — 21 and 25, respectively, both released in 2015 or earlier — she's nowhere to be found on any decade-end streaming charts.
In general, music listening is accelerating: According to BuzzAngle, last year's streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the "one trillion streams" headlines are some deeper truths about the current state of the music business — some of which reflect the industry's stubborn resistance to change, and others of which provide a sign of the global transformation to come.
Audio streams might rule the U.S., but video streams rule the world
Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it's actually video — not audio — that reigns supreme.
Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen's worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.
This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from K-pop in Korea to Bollywood in India (YouTube alone accounts for 40% of Indian labels' revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn't require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven't yet warmed up to the concept of a paid streaming subscription.
More songs than ever are in the 500-million-streams club, but power is still concentrated
Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.
On one hand, more artists and songs are participating in the "top 1%" of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.
But that doesn't mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of all streams, while the top 500 album titles were responsible for 30% of all album sales — same as the year before.
Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly's "Murder On My Mind," the top 25 songs, albums and artists of 2019 in BuzzAngle's report were all owned and/or distributed by a major label. Nielsen Music found that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .
This isn't necessarily to say that the music business is stale, or hostile to disruption. Consider "Old Town Road." Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song of the past 10 years, beating ubiquitous hits like "Despacito," "Rockstar" and "Uptown Funk." But even "Old Town Road" arguably could not have gotten to its historic peak without major-label backing — in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes' streams also counted toward the original song's tallies, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.
Vinyl might be having a "revival," but CDs still account for the vast majority of physical albums
Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to surpass those from CDs within the next few years.
But there's one important caveat: In terms of units, vinyl is not the top physical music format — far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)
In contrast, vinyl constituted only around 17% to 19% of physical units sold last year — 10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn't come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.
Remember: album sales aren't all created equal
Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it's natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.
Sales-oriented music charts, like the Billboard 200, calculate artists' rankings using formulas that convert stream counts into approximate "album equivalents." For example, as of summer 2018, the Billboard charts register one "album unit" for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one "album project unit" for every 1,500 on-demand streams, regardless of the streams' source or financial value.
Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.
As of this month — this week, in fact — the Billboard 200 chart is also now incorporating YouTube data into its formula, which puts even further weight on an album's biggest single(s) rather than on all the project's tracks as a whole. In short, album equivalent units often don't reflect actual album consumption, let alone physical album purchases — a nuance that's difficult to communicate in the context of a surface-level chart.
Radio listening and album sales paint a completely different picture of popularity than streaming
Let's compare the top artists on streaming versus terrestrial radio in both reports.
Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).
In contrast, Nielsen's radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen's report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only five of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.
Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle's top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen's top 10 artists of the decade by album sales and song sales — Drake and Eminem.
Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur
Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it's not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape — and, when bundled with a digital download, can even help them climb the charts (as long as they stick to the rules). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.
Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish's When We All Fall Asleep Where Do We Go were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.
The upper echelon of music is still a boy's club
A disappointing takeaway from both BuzzAngle's and Nielsen's reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade — suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.
Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive — with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019 — but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle's report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen's hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen's top country and rock charts for the year.
While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B's "Bodak Yellow" and Camila Cabello's "Havana," all of the 25 top-streamed songs over the past five years were by male artists.
These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which found that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like Jennifer Nettles Glamour have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the absence of women headliners from this year's Coachella lineup).
It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities — let alone appearing on year-end industry reports.
Source: https://www.npr.org/2020/01/14/796187782/the-past-year-and-decade-in-music-listening
Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade.
As we ease into the 2020s, data about the music industry's growth is more abundant than ever.
Within the last week, BuzzAngle and Nielsen Music — the two central, competing, public-facing music-data firms in the U.S. — released their annual reports on music listening trends. BuzzAngle powers Rolling Stone's charts and is owned by Penske Media, the parent company of Rolling Stone, Variety and Deadline; Nielsen Music was acquired by Valence Media, the parent company of Billboard and The Hollywood Reporter, in December 2019.
The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen's 24% to BuzzAngle's 32%).
Nielsen's report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade — country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-selling albums of the decade — 21 and 25, respectively, both released in 2015 or earlier — she's nowhere to be found on any decade-end streaming charts.
In general, music listening is accelerating: According to BuzzAngle, last year's streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the "one trillion streams" headlines are some deeper truths about the current state of the music business — some of which reflect the industry's stubborn resistance to change, and others of which provide a sign of the global transformation to come.
Audio streams might rule the U.S., but video streams rule the world
Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it's actually video — not audio — that reigns supreme.
Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen's worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.
This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from K-pop in Korea to Bollywood in India (YouTube alone accounts for 40% of Indian labels' revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn't require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven't yet warmed up to the concept of a paid streaming subscription.
More songs than ever are in the 500-million-streams club, but power is still concentrated
Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.
On one hand, more artists and songs are participating in the "top 1%" of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.
But that doesn't mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of all streams, while the top 500 album titles were responsible for 30% of all album sales — same as the year before.
Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly's "Murder On My Mind," the top 25 songs, albums and artists of 2019 in BuzzAngle's report were all owned and/or distributed by a major label. Nielsen Music found that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .
This isn't necessarily to say that the music business is stale, or hostile to disruption. Consider "Old Town Road." Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song of the past 10 years, beating ubiquitous hits like "Despacito," "Rockstar" and "Uptown Funk." But even "Old Town Road" arguably could not have gotten to its historic peak without major-label backing — in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes' streams also counted toward the original song's tallies, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.
Vinyl might be having a "revival," but CDs still account for the vast majority of physical albums
Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to surpass those from CDs within the next few years.
But there's one important caveat: In terms of units, vinyl is not the top physical music format — far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)
In contrast, vinyl constituted only around 17% to 19% of physical units sold last year — 10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn't come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.
Remember: album sales aren't all created equal
Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it's natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.
Sales-oriented music charts, like the Billboard 200, calculate artists' rankings using formulas that convert stream counts into approximate "album equivalents." For example, as of summer 2018, the Billboard charts register one "album unit" for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one "album project unit" for every 1,500 on-demand streams, regardless of the streams' source or financial value.
Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.
As of this month — this week, in fact — the Billboard 200 chart is also now incorporating YouTube data into its formula, which puts even further weight on an album's biggest single(s) rather than on all the project's tracks as a whole. In short, album equivalent units often don't reflect actual album consumption, let alone physical album purchases — a nuance that's difficult to communicate in the context of a surface-level chart.
Radio listening and album sales paint a completely different picture of popularity than streaming
Let's compare the top artists on streaming versus terrestrial radio in both reports.
Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).
In contrast, Nielsen's radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen's report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only five of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.
Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle's top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen's top 10 artists of the decade by album sales and song sales — Drake and Eminem.
Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur
Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it's not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape — and, when bundled with a digital download, can even help them climb the charts (as long as they stick to the rules). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.
Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish's When We All Fall Asleep Where Do We Go were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.
The upper echelon of music is still a boy's club
A disappointing takeaway from both BuzzAngle's and Nielsen's reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade — suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.
Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive — with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019 — but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle's report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen's hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen's top country and rock charts for the year.
While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B's "Bodak Yellow" and Camila Cabello's "Havana," all of the 25 top-streamed songs over the past five years were by male artists.
These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which found that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like Jennifer Nettles Glamour have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the absence of women headliners from this year's Coachella lineup).
It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities — let alone appearing on year-end industry reports.
Source: https://www.npr.org/2020/01/14/796187782/the-past-year-and-decade-in-music-listening
3/27/2020
Artist: Harry Chapin
Following an unsuccessful early album made with his brothers, Tom and Steve, Chapin's debut album was Heads and Tales (1972, #60), which was a success thanks to the single "Taxi" (#24). Chapin later gave great credit to WMEX-Boston radio personality Jim Connors for being the DJ who "discovered" this single, and pushed the air play of this song amongst fellow radio programmers in the U.S]
However, Chapin's recording future became somewhat of a controversy between two powerful record companies headed by two very powerful men, Jac Holzman of Elektra Records and Clive Davis of Columbia. According to Chapin's biography Taxi: The Harry Chapin Story by Peter M. Coan, Chapin had agreed in principle to sign with Elektra Records on the grounds that a smaller record label would give greater personal attention to his work. Clive Davis, however, remained undaunted, doubling almost every cash advance offer Chapin received from Holzman. Despite a cordial relationship with Holzman, Davis had a long history of besting Holzman over the years to particular artists, but this was one time that he did not prevail. Chapin ultimately signed with Elektra for a smaller advance, but with provisions that made it worth the move. The biggest stipulation in the nine-album deal was that he receive free studio time, meaning he paid no recording costs. It was a move that would ultimately save Chapin hundreds of thousands of dollars over the term of his contract and set a precedent for other musicians. "This was completely unheard of," said Davis in the Coan book. "There was no such thing as free studio time."
Chapin's follow-up album, Sniper and Other Love Songs (1972, #160), was less successful despite containing the Chapin anthem "Circle" (a big European hit for The New Seekers). His third album, Short Stories (1974, #61), was a major success. Verities & Balderdash (1974, #4), released soon after, was even more successful, bolstered by the chart-topping hit single "Cat's in the Cradle", based upon a poem by his wife. Sandy Chapin had written the poem inspired by her first husband's relationship with his father and a country song she heard on the radio. When Harry's son Josh was born, he got the idea to put music to the words and recorded the result. "Cat's in the Cradle" was Chapin's only number one hit, shooting album sales skyward and making him a millionaire.
He also wrote and performed a Broadway musical The Night That Made America Famous. Additionally, Chapin wrote the music and lyrics for Cotton Patch Gospel, a musical by Tom Key based on Clarence Jordan's book The Cotton Patch Version of Matthew and John. The original cast soundtrack was produced by Tom Chapin, and released in 1982 by Chapin Productions.
Chapin's only UK hit was "WOL*D", which reached #34 in 1974. His popularity in the UK owed much to the championing of BBC disc jockey Noel Edmonds. The song's success in the U.S. was championed by WMEX jock and friend of Chapin's Jim Connors who in part inspired the song.[The national appeal of the song was a result of disc jockeys playing it for themselves, since the song dealt with a much-traveled DJ, problems in his personal life, and his difficulty with ageing in the industry. This song was also a significant inspiration (though not the only one) for Hugh Wilson, who created the popular television series about DJs and radio, WKRP in Cincinnati] Chapin's recording of "The Shortest Story", a song he wrote about a dying child and featured in his 1976 live/studio album Greatest Stories Live, was named by author Tom Reynolds in his book I Hate Myself and Want to Die as the second most depressing song of all time (just behind "The Christmas Shoes").
By the end of the decade, Chapin's contract with Elektra (which had since merged with Asylum Records under the control of David Geffen) had expired, and the company made no offer to renew it. A minor deal with Casablanca fell through, and Chapin settled on a simple one-album deal with Boardwalk Records. The Boardwalk album, though no one knew it at the time, would be his final work. The title track of his last album, Sequel, was a follow up to his earlier song "Taxi", reuniting the same characters ten years later. The songs Chapin was working on at the time of his death were subsequently released as the thematic album The Last Protest Singer.
Discography
In 1972, Chapin switched his career focus to music. After a bidding war broke out over him, he signed a recording contract with Elektra Records. The contract was unprecedented as it granted him free recording time.His 1972 debut album, Heads & Tales was an international success. It sold 1.1 million units. It was boosted by the Billboard Hot 100 top 20 single, Taxi. The song was also a top 5 hit in Canada. The song is based on Chapin's ex-girlfriend, who wanted to be an actress, selling out her dreams and marrying a rich man. While Chapin originally wanted to be a pilot, and he is now "flying" in his taxi. The story-line, however, is from a dream he had the weekend before he was supposed to start driving a taxi. He got a film job and didn't have to drive the taxi.
The follow-up album, Sniper and Other Love Songs was released the same year. The single, Sunday Morning Sunshine became a top 30 Billboard Adult Contemporary hit. The album's signature song, Sniper, is an almost 10 minute long ballad about the University of Texas tower shooting. The album also contained the Chapin anthem, Circle. The album sold 350,000 units.
His next album, Short Stories was released in 1973. It sold 1 million units. The album produced another worldwide hit, W·O·L·D. The single became a top 40 hit on the Billboard Hot 100, a top 10 in Canada, and top 10 and 20 in various other countries. The song is about an aging disc jockey who has given up his entire life to continue his career. The song is sung in the point of view of the jockey to his ex-wife. The song was inspired by Jim Connors when Chapin listened to him during a phone call to his ex-wife while at the WMEX studio. WOLD is an actual radio station in Marion, Virginia but there is no relation. The name simply comes from getting old, hence the "O*L*D*".
In 1974, he released his most successful album, Verities and Balderdash. It sold 2.5 million units. It was boosted by the #1 hit, Cat's in the Cradle. The single itself sold 1.3 million units. The song is about a dad who didn't have time for his son during his childhood, and then quickly turns into his son not having time for him. The song is from a poem his wife, Sandra Chapin, wrote. A second single from the album, I Wanna Learn a Love Song, was a top 10 hit on the Billboard Adult Contemporary. The song is based on how he met his wife. Another notable song from the album is 30,000 Pounds of Bananas. Although not released as a single, the song was extremely popular. It is based on a real truck crash in Scranton, Pennsylvania that was hauling bananas.
In 1975, he released his fifth studio album, Portrait Gallery. The album was less successful than the last, but contained the top 40 Billboard Adult Contemporary hit, Dreams Go By. The album sold 350,000 units. However, he was working on a Broadway play, The Night That Made America Famous. The play earned a total of 4 award nominations.
In 1976, he released two albums. The first was Greatest Stories Live. The album sold 2.1 million units. It was his first live album featuring a select number of songs from the previous albums. He also released On the Road to Kingdom Come. The album had no single release, but contained two popular songs, Corey's Coming and The Mayor of Candor Lied. The album sold 350,000 units.
In 1977, he released his seventh studio album, Dance Band on the Titanic. The album had no single release, but was named London's album of the year. The album sold 500,000 units.
In 1978, he released his ninth studio album, Living Room Suite. Despite the economic recession, the top 20 Irish hit, Flowers Are Red, was produced. The album sold 350,000 units.
In 1979, he released his second live album, Legends of the Lost and Found. Still in the economic recession, the album sold 250,000 units.
In 1980, his recording contract was up. He signed a new one-album deal with Boardwalk Records. He released the final album of his lifetime, Sequel. The single release, Sequel, was a follow up to his first hit single, Taxi. The song was a top 20 near miss on the Billboard Hot 100, peaking at #23. It is considered to be his fastest breaking album. The album sold 500,000 units.
In 1981, Chapin was killed in a car crash on the Long Island Expressway. He was buried at the Huntington Rural Cemetery. Millions of fans throughout the world mourned him following the news of his death.
On December 7, 1987, on what would have been his 45th birthday, Chapin was posthumously awarded the Congressional Gold Medal for his campaigning on social issues, particularly his highlighting of hunger around the world and in the United States. His work on hunger included being widely recognized as a key player in the creation of the Presidential Commission on World Hunger (under 39th President Jimmy Carter) in 1977. There was also a tribute concert held at the Carnegie Hall to commemorate his 45th birthday if he were alive, and also to award him the Congressional Gold Medal which was presented to his son Joshua Chapin and laid to rest on an empty stool with Harry's guitar leaning against it. Various artists contributed, including Bruce Springsteen, Richie Havens, and Pat Benatar, whom Harry taught to sing rock & roll. It was hosted by Harry Belafonte.
Albums
Studio albums
Live Albums
Compilation and specialty albums
| Year | Album | Chart Positions | Certifications | Sales | |
|---|---|---|---|---|---|
| US | CA | ||||
| 1972 | Heads & Tales
|
60[2] | 57 | Gold (US) Platinum (CA) | 1,100,000 |
| 1972 | Sniper and Other Love Songs
|
160[3] | 350,000 | ||
| 1973 | Short Stories
|
61[4] | 39 | Gold (US) Platinum (CA) | 1,100,000 |
| 1974 | Verities & Balderdash
|
4[5] | 4 | 2x Platinum (US) 2x Platinum (CA) | 2,700,000 |
| 1975 | Portrait Gallery
|
53[6] | 350,000 | ||
| 1976 | On the Road to Kingdom Come
|
87[7] | 66 | 350,000 | |
| 1977 | Dance Band on the Titanic
|
58[8] | 91 | Gold (US) [9] | 500,000 |
| 1978 | Living Room Suite
|
133[10] | 350,000 | ||
| 1980 | Sequel
|
58[11] | 72 | Gold (US) | 500,000 |
| Year | Album | Charts | Certifications | Sales | |
| US | CA | ||||
| 1976 | Greatest Stories Live
|
48[12] | 71 | 2x Platinum (US) Platinum (CA) | 2,100,000 |
| 1979 | Legends of the Lost and Found
|
163[13] | 72 | 250,000 | |
| Year | Album | Charts | Certifications | Sales | |
| US | |||||
| 1985 | Anthology of Harry Chapin
|
— | 250,000 | ||
| 1987 | Remember When the Music
|
— | 250,000 | ||
| 1988 | The Gold Medal Collection
|
— | Platinum (US) | 1,000,000 | |
| 1988 | The Last Protest Singer
|
— | 250,000 | ||
| 1990 | Harry Chapin Tribute
|
— | N/A | ||
| 1998 | The Bottom Line Encore Collection
|
— | N/A | ||
| 1999 | Story of a Life
|
— | N/A | ||
| 1999 | Storyteller
|
— | N/A | ||
| 2000 | Onwards and Upwards
|
— | N/A | ||
| 2001 | VH1 Behind the Music: The Harry Chapin Collection
|
— | N/A | ||
| 2002 | The Essentials
|
— | N/A | ||
| 2003 | Classics
|
— | N/A | ||
| 2006 | Introducing... Harry Chapin
|
— | N/A | ||
| 2015 | Bottom Line Archive Series: Live 1981
|
— | N/A | ||
| 2019 | The Singles A's & B's
|
— | N/A | ||
Source: https://en.wikipedia.org/wiki/Harry_Chapin_discography
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