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Fan Base: Archived: Taylor Swift (#1)
Member Since: 5/9/2012
Posts: 38,050
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Quote:
Originally posted by JakeKills
Oh, I copied it wrong. Starlight is #9. #7 wasn't a Taylor song.
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Wait..you weren't trolling 
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Member Since: 3/31/2012
Posts: 43,847
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Was it legit jake? Why was hunter thinking you were trolling. 
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Member Since: 9/16/2011
Posts: 50,981
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Member Since: 3/31/2012
Posts: 43,847
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Quote:
Originally posted by JakeKills
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Oh it's for country digital songs. I thought it was HCS.
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Member Since: 5/9/2012
Posts: 38,050
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Quote:
Originally posted by JakeKills
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Damn, I thought that just meant country digital chartings. Not the actual billboard chart. 
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Member Since: 9/16/2011
Posts: 50,981
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NEW 1 Taylor Swift I Almost Do 76,000 0 76,000
NEW 3 Taylor Swift All Too Well 57,000 0 57,000
NEW 5 Taylor Swift Stay Stay Stay 48,000 0 48,000
NEW 8 Taylor Swift Treacherous 40,000 0 40,000
NEW 9 Taylor Swift Starlight 38,000 0 38,000
NEW 11 Taylor Swift Holy Ground 34,000 0 34,000
NEW 12 Taylor Swift The Lucky One 34,000 0 34,000
New 14 Taylor Swift Sad Beautiful Tragic 31,000 0 31,000
30 24 Taylor Swift Ronan 18,000 12,000 449,000
Ronan will definitely hit 500k this year.
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Member Since: 12/13/2011
Posts: 26,638
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Do we have numbers for SN tracks when they debuted back in 2010?
These were SN numbers for Canada:
Week 1: 62,000 (620,000)
Week 2: 26,000 (260,000)
She grew even bigger!
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Member Since: 10/31/2011
Posts: 1,042
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^ Why 62,000 in Canada is equal to 620,00 in US?
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Member Since: 9/16/2011
Posts: 50,981
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Quote:
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Originally posted by Elle
I suggest, only half joking, that songs about doing shots or clubbing on Friday nights do very well. She ***** her head like a glossy cocker spaniel. "I just don't feel like writing songs about anything other than human emotions because it's such a fascinating thing.... What else is there other than love?"
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Thank goodness, no drinking songs in our future. I couldn't take.
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Originally posted by Taylor
I have a lot to learn about politics and feminism- all these huge incredible concepts. I want to end up being really educated about all these big topics that everyone talks about, but, I mean, it's like baby steps, you know? And until I really form an opinion that I feel is educated, I just don't know if I can talk about it.
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Member Since: 11/29/2010
Posts: 19,664
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Quote:
Originally posted by thediscomonkey
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You stole that from me didn't you? 
So annoying that this dude gives this glowing review but some other crap from their site gets counted for Metacritic. 
Queen Miranda and The Fray better stan! 
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Member Since: 8/25/2012
Posts: 20,985
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Quote:
Originally posted by rrr13rcc
I'm still so upset it lost Video of the Year  |
I know, what ********?!!?!?!
Quote:
Originally posted by olympiccairways
Thanks 
I love that picture the Lord is always looking flawless  |
ALWAYS 
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Member Since: 8/25/2012
Posts: 20,985
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Quote:
Originally posted by lovesong
I love the lyrics on 'The Lucky One' a lot 
It might be one of my favourites lyrically |
Been in my holy TRINITY since day one ~All Too Well, Sad beauutiful Tragic, The Lucky One~ has never left!! and I still think it's one of her best songs to date, def in the top 10
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Member Since: 11/9/2011
Posts: 12,849
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As always, scans from that ELLE interview? 
Quote:
Originally posted by muddysquirrel
You stole that from me didn't you?
So annoying that this dude gives this glowing review but some other crap from their site gets counted for Metacritic.
Queen Miranda and The Fray better stan! |
You posted that already? I didn't know.
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Member Since: 9/16/2011
Posts: 50,981
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Member Since: 3/20/2012
Posts: 388
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About Holy Ground, didn't Joe Jonas go to the San Jose show and not San Diego?
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Member Since: 4/9/2012
Posts: 1,916
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Quote:
Weekly Register: Swift’s “Red” Becomes State-Of-The-Art Marketing Textbook
It’s not easy to grab top headlines during a week loaded with Awards, label restructuring and a massive hurricane, but Taylor Swift is used to making the difficult look easy. This week the Big Machine international superstar became the first female artist of the SoundScan era to have two million-selling album weeks. Red scanned 1.208 million units this week. About 38% of that total was in digital format. (Swift’s Speak Now logged 1.047 million 10/31/10).
The blockbuster marketing ballet which helped accomplish this exceptional feat will no doubt be discussed and dissected in label boardrooms across the country in the coming weeks. It included high-profile partnerships with Walgreens and Papa John’s Pizza plus dozens of other brands and a Nashville radio remote. Swift worked the tube tirelessly—Letterman, Good Morning America, The View, Ellen DeGeneres, Katie Couric and there were layers of social and traditional media. Dropping the album on Monday allowed an extra sales day.
Orchestrated like a major movie release, the impressive Red marketing campaign has written itself into the music industry record books as a state-of-the-art album sales textbook.
Swift also dominated across other charts. In the tracks department she scored 13 entries on Nielsen SoundScan’s Top 200 Digital Tracks chart and was all over the Digital Genre Country tracks chart (the country chart only lists some of her tracks due to Billboard’s recent decision to dictate what is and isn’t country music). The singer/songwriter also owned the Top 3 positions on the Top Catalog Country Albums chart.
In the end, Swift’s dramatic showing plus week two for Jason Aldean (Country No. 2; 116k) and a holiday debut from Lady Antebellum (No 3; 25k) upped YTD country sales from last week’s -2.4% tally to a +1.4% adding a welcome dose of good news to an already event-filled week.
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http://www.musicrow.com/2012/10/week...ting-textbook/
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Member Since: 4/9/2012
Posts: 1,916
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'The Last Time' connects Taylor Swift with Arcade Fire
As far as power ballads go, you could do worse than Taylor Swift’s “The Last Time," which features Northern Irish singer Gary Lightbody of Snow Patrol. A dramatic back-and-forth duet between a man and woman about their failing but enduring relationship, the song is well-crafted, emotional and features an instantly hummable refrain.
The drama is pushed forward when an orchestra arrives to amplify the tension beneath the chorus and gently lift the melody via strings and brass. It’s a little bombastic, but not excessively so, and if the approach sounds familiar to fans of a certain Grammy-winning Montreal indie rock band, there’s a reason. “The Last Time” was arranged by musician Owen Pallett, who is best known for his work co-arranging Arcade Fire’s debut album “Funeral” and its follow-up, “Neon Bible.”
Over the last decade Pallett has gradually ascended to the top of his profession by powering an array of songs by artists including Beirut, the Last Shadow Puppets and acclaimed Canadian hard-core punk band F-ed Up (the first half of their name is unprintable in a family newspaper). Pallet has also remixed Grizzly Bear and Death from Above 1979.
That Taylor Swift shares an arranger with F-ed Up and Arcade Fire illustrates one of the many ways the superstar singer is pushing outside her comfort zone. This effort is all over “Red,” which sold over 1.2 million copies in its first week and has received some of the best reviews of the 22-year-old singer’s career.
And expect Pallett’s profile to grow from here -- one of the many benefits of landing a credit on a Swift recording in 2012.
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http://www.latimes.com/entertainment...,5867640.story
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Member Since: 4/9/2012
Posts: 1,916
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Any Questions? Taylor Swift Just Sold 1.2 Million First-Week Albums...
You could still argue that Taylor Swift would have sold even more if she'd licensed Spotify. But most likely, she would have sold less: according to stats just released by Nielsen Soundscan and tweeted by the singer, Red shifted an unbelievable, record-setting 1.2 million copies during its first week alone. And, this is in the US only.
The result puts a recent, Spotify-powered success story by Mumford & Sons into a totally different light. Leading into the Taylor release, Mumford's Babel set a massive streaming record on Spotify, and still went on to sell a sizable 600,000 first-week units. The strategy of granting full access obviously worked, but in the end, Babel sold half of what Red sold. These are different artists with different audiences, with different consumption behaviors.
And, Red sold an almost unthinkable number of units, especially in such an album-challenged era. Swift surpassed the previous million-plus first-week seller, Lady Gaga's Born This Way, by roughly 100,000 units, but Gaga received a tremendous boost from a sharply discounted, 99-cent album bonanza on Amazon. That was a near-freebie for fans, and a subsidized attention-getter for Amazon.
Yet Taylor's camp decided against such a ploy: in fact, Swift's label, Big Machine Records, expressly restricted Red from appearing on Amazon MP3 (and Google Play, for that matter). The reason was simple: Big Machine wanted to prevent that sort of price-chopping from happening, a development that would have devalued the full-priced integrity for exclusive partners like iTunes, Target, and even Papa John's Pizza.
Which means, in the end, Red sold 1.2 million the old-fashioned way: at full price, and through a highly-controlled list of retail partners. And the last album to reach that first-week tally was The Eminem Show, released in 2002 - before Spotify, before Amazon MP3, and even before the iTunes Music Store.
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http://www.digitalmusicnews.com/perm...12/121031swift
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Member Since: 4/9/2012
Posts: 1,916
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Quote:
NPR Just Asked Me Why Mumford & Sons Licensed Spotify, and Taylor Swift Didn't...
It was a smart question - the right question - asked by a very astute host (Zoe Chase). But as flattering as it was to be consulted by NPR, I felt like a parent trying to simplify a hopelessly complex and sticky situation into a one, reasonable answer. I was wading in complexity: after all, didn't Mumford definitively prove that streaming success doesn't erode sales success? So why, just weeks later, did Taylor Swift's label abruptly slam the door on Spotify, Rhapsody, Rdio, and the rest?
Well, actually, we know why: it doesn't pay enough, and Big Machine's Scott Borchetta said it out loud. Especially when everyone was more-than-willing to purchase the full album at full cost - at Target, iTunes, Walgreen's... Papa John's Pizza.
So you either think that Mumford gets the big picture and Taylor doesn't, or Mumford was stupidly turning down cash. If only it was that simple...
(1) These are totally different artists, with largely different audience demographics.
Of course there's overlap. But Mumford's crowd isn't dominated by young girls screaming every word at every show (often with their parents chaperoning). Which means both of these artists are making decisions based on a nuanced expertise of their own audiences. Pulling Babel from Spotify might have alienated Mumford & Sons fans and lowered awareness; does pulling Red have the same (or any) effect on Taylor's fans?
(2) Smart minds don't always think alike.
This isn't Scott Borchetta (or Daniel Glass) making both decisions. Rather, these are both smart people analyzing highly-uncertain, quickly-shifting situations, and making decisions based on their audiences and broader objectives. Experts disagree, smart minds don't always think alike.
(3) Different artists have different objectives.
Some artists want to maximize revenue from an album, others want exposure. Others don't care about the album at all (and neither do their fans).
(4) Maximum availability isn't beneficial to every artist. Especially when you don't need it.
And Taylor Swift doesn't really need it. She's one of those extremely rare, hyper-successful artists that made it past discovery - her fan base is feverishly on call, waiting for the next release, concert, or product. These are like religious devotees: they want Taylor's album the day it's released, in whatever format it's available.
(5) This is an extremely emotional topic that plays into artist compensation, accounting transparency, and digital devaluation.
And if you're successful in the music industry, you're probably passionate about those topics. These aren't accountants making decisions about machine parts.
(6) It's still too early to tell.
I showed NPR the graphs in which streaming and downloads are increasing -- at the same time. But that doesn't necessarily answer the question. After all, would album sales be even higher if Spotify didn't exist? And does that answer the very difficult questions about Spotify's accounting, artist payouts (or lack thereof), and executive compensation? The dataset is just too immature and too incomplete, the payout issues can't be resolved by a graph.
I wish I had a simpler answer. But it's complicated.
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http://www.digitalmusicnews.com/perm...2012/121026npr
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Member Since: 11/27/2011
Posts: 15,434
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Love those articles Dragon!
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